Mike Scott

The resulting slowdown, as well as a significant narrative shift, gives Looper a slightly sprawling and ungrounded feel at times, almost as if the first and second halves are two separate movies.

Like everything else associated with it, the drama of Graduation is decidedly low-key. While that occasionally costs it a sense of forward momentum, it doesn't hold the film back from its ultimate goals. In fact, it contributes to it in some ways.

Not only is it a searing on-the-ground, in-the-fray portrait of the heart of Egypt's ongoing revolution, but it is also a stirring tribute to the indomitable spirit of those who are risking, and in many cases giving, their lives to keep it alive.

At times humorous, at times poignant, but always absorbing.

Not only does it deliver a powerful message, but it is wrapped in an immensely entertaining package.

How do you know when a romantic comedy just isn't working? Key indicators are that your audience doesn't get goose bumps in the inevitable third-act reunion. They don't get misty-eyed. In short, they don't really care.

A documentary that is equal parts sweet science, brutal art and masterful filmmaking.

A simple story about a difficult man, and it's an impressive debut from writer-director Scott Cooper.

A refreshingly original take on the comic book adaptation.

It's not a perfect film. There's still room for Cianfrance to grow as a storyteller. But it is entirely rewarding -- and I, for one, can't wait to see where he takes us next.

Hitchcock purists will certainly take issue with some details, but Gervasi's film shouldn't be taken as an ironclad factual film docudrama. Rather, it is fact-inspired fiction -- a film based on real events but one that isn't shy about taking creative liberties. As long as viewers keep that in mind, Gervasi's stands to be a nice bit of murderous fun.

Does The Wind Rises represent Miyazaki at the top of his game? No, not really. But it could be Miyazaki at the end of the game, and that alone is reason enough to appreciate the film for the things it offers rather than hammer it too hard for the things it lacks.

Even though it's right there in the title, "fantastic" might be a touch hyperbolic in describing director Wes Anderson's stop-motion adaptation of Roald Dahl's The Fantastic Mr. Fox, but only by a whisker.

It's also a British comedy, with that singularly British way of being clever and deliriously juvenile all at once, a combination that makes for scathing, laugh-out-loud, big-screen satire.

It’s a movie with the sort of resonance, thoughtfulness and universality that audiences of all descriptions will enjoy — and, more importantly, connect with.

Extraordinarily engaging but surprisingly sobering.

A crowd-pleaser, through and through.

While Pina will undoubtedly be well-received by modern-dance devotees, it does little to take advantage of the enormous opportunity to open the door for newcomers.

This kind of cinematic delight is a rarity, a warm and masterfully crafted reminder of why we love to go to the movies in the first place.

Even if the obligatory third-act twist arrives with all the subtlety of the Four Horsemen of the Apocalypse, Drag Me to Hell otherwise steers mostly clear of predictability.

Dumont's fans might find this latest exercise enjoyable, but his style of filmmaking is an acquired taste. I doubt those without that taste are going to acquire it here.

In addition to being the most accessible and purely enjoyable of Lee's film in years, it's also one of his most important.

Under the Skin is, in short, a film that does just that: gets under one's skin, shining a light on what it means to be human -- even if what we end up seeing is something less than comforting.

A fast-moving, fascinating and at times even fun documentary residing squarely at the intersection of sports, geopolitics and history.

This is a film that could -- and should -- catch on. Just be careful nobody follows you home from the theater.

Sometimes the nuts-and-bolts of the story threaten to snag, most often on conversations about the very specific details of Locke's largely humdrum job. It's those moments in particular that keep Locke from ever quite shaking the feeling that it's a gimmick film.

What we end up with is a rare treat: a midbudget movie for grown-ups — no capes, no magic wands, no kid’s stuff. In other words: pure Linklater.

127 Hours -- just like "Slumdog Millionaire" -- is a masterful slice of four-star cinema, featuring an irresistible performance by James Franco, breathtaking cinematography, and the kind of deep, searching soul that is absent from so much of what comes out of Hollywood.