Marrit Ingman

The movie itself offers few real answers to the problems teachers face.

Yaar has enough heart to redeem its cruder moments, and it turns out to be quite a little charmer.

There's nothing terribly wrong with Kate & Leopold -- it's just an awfully conventional upmarket romantic comedy.

This is Iranian cinema at its most accessible: a bit slow even in its 92 minutes, with more environment than story, but deeply immersive and thought-provoking, and quite often funny.

When it's on, it's really, really on. But when it's not, it feels like it's struggling to find its style, just as Jerome is.

Old Joy is an accurately observed slice of that moment between postadolescence and parenthood, when friends cling or scatter, and circumstances force buried feelings to the fore.

Cody Banks would probably be appropriate for the 13-and-older crowd, but it’s far too dopey for teenage sophisticates.

This moody Hong Kong thriller puts a stylish new spin on the old "Hands of Orlac" horror motif.

The characters all feel like concoctions, like synthetic movie people forged in a crucible of Red Bull during late-night meetings at the studio compound.

It is an observant and effective study in character and setting, suitably grave and distinctively realized.

This first dramatic feature by documentarian Evans is an important film but not necessarily a successful one.

She's funny, she's feisty, she's a flabulous, fat-positive “fag hag,” and Margaret Cho isn't apologizing for any of it.

The result is total immersion in the moment of the music, sure to send jazz fans over the moon.

The film is sufficiently methodical and well-researched to walk the walk behind its controversial premise. More to the point, it's terribly involving, intriguing enough to hook documentary-shy viewers.

A sterling example of what Hollywood can accomplish when it puts its trust into an offbeat project whose creative team has a different perspective on American life.

A bright, amiable chronicle of the vivid lives of the women of Juchitán.

Surprisingly fresh and charming overall.

It manages to be a watchable, even enjoyable movie about and for girls, and in our world of candy-coated sparkly pink c---, that's a rare and commendable thing.

The film is often quietly humorous.

The movie isn't perfect – Spielberg-slick, its power is sometimes dampened by melodrama that overstates its message – but it is compelling and thought-provoking and topical as hell.

97% of the movie will make you need a shower. Possibly two.

Before the cocaine economy, Miami was a sleepy seaside hamlet, a "virgin city" with a permeable border and largely unprotected coastline.

It's the most honest, refreshing comedy about love – gay, straight, or both – I've seen in many moons, and at the end everyone's problems are solved by a country-western dance battle with drag doyenne Jackie Beat on the mic.

Honest and unflinching, Daughter From Danang isn't always pleasant to watch, but it is powerful and memorable.

This spook story is a surprisingly mediocre Hollywood debut for Hong Kong's Pang brothers.

The movie doesn’t stand in judgment of its characters, which will probably disappoint audiences who think it ought to, but its breezy tone and ultimately affirming message should please comedy fans with an appreciation for the offbeat.

Critic-proof moviemaking, a candy pink wish-fulfillment fantasy prominently peppered with pubescent pop platters.

Like a lot of animated fare, it's overly busy, lacking the comic's gentle, contemplative air.