Peter Rainer

This computer-animated feature is consistently inventive, if a bit busy and overlong.

Bong's style is comically tart even in the film's most noirish moments.

I do hope there will be many more future installments. I’d like to spend more time with these folks.

Thankfully, the usual Disney cutesy factor is relatively low, and the script by Justin Marks is more literate than usual for this sort of thing. There are even some end credits that, for a change, are actually funny.

The big news here is not simply that Nim was traumatized, it's that Nim was signing that he was traumatized.

This film would be better if it wasn't so slick. Still, parts of it are enjoyably shaggy, and Hopkins is very endearing.

A slight but winning documentary.

What actors! The great Miriam Margolyes has a wonderful cameo as a scullery maid, and Colin Firth manfully endures a face full of frosting. And then there's Angela Lansbury, playing her first movie role in 20 years as the villainous Aunt Adelaide.

Dews perhaps makes too much of the notion that Allis was a woman out of her time – a feminist precursor. This is too sociological a formulation for such a patently psychological crisis.

For most of the movie, Dheepan, for all its flaws, is hard-hitting in ways that count. It has the intimacy of a personal drama but the amplitude of a much larger immigrant odyssey.

Destined to become this year's love-it-or-hate-it movie. Is it OK to say I merely liked it a lot?

The animation is consistently sporty and there are some choice comic riffs on martial arts movies.

The sources of this happiness become far more complex when Adrien’s revelation is imparted (only to Anna). At this point the movie’s moral compass spins.

It’s always gratifying to see a movie in which an ostensibly closed-off community is depicted humanely rather than voyeuristically.

Devotees of the "Whole Earth Catalogue" may regard this film as a nostalgia trip, but it's much more comprehensive, more forward-looking than that.

The problem is, the geek in question, at least as Jesse Eisenberg plays him, doesn't have the emotional expansiveness to fill out a movie. Perhaps sensing this, the filmmakers play out the story line from multiple points of view and crowd the stage with a pageant of voluble supporting characters.

In all, it's a fun exercise in nostalgia but a three-hour homage to grade Z movies is a long sit. Grunge overload sets in early.

In "Birders," by contrast, nature is one big entrancing show; a world of tweets without "tweets."

You may not feel like dancing after watching Pina – unless you have a thing for earth in your shoes – but you'll certainly know you've seen something.

Trophy is a documentary that can make the stomach turn and the head spin. It’s about the big-stakes world of hunting and conservationism, and what’s surprising is how morally intertwined the two activities are.

Huppert never loses sight of the fact that Nathalie’s wounded heart often overrules her steel-trap mind.

His movie is visually as beautiful as anything he’s ever done. Conceptually, it’s muddled. The collision between poetic fancifulness and grim reality, between peace and war, never falls into focus. Miyazaki has seized on a great theme only to soft-pedal it.

Many of the interviews in the film – conducted with everyone from family members to Christopher Hitchens and Tom Hayden – look to be 10, even 20, years old. Together they concoct a complex portrait of an ultimately unknowable man.

Directed by James Ponsoldt from a script by Donald Margulies, the film gets at the wariness and competitiveness inside the journalist-interviewee dynamic and, in Segel’s performance, captures the quandary of an immensely gifted and immensely troubled writer who disdained the celebrity he also, without fully fessing up to it, sought.

Rothemund's use of the recorded testimony, while it gives his film a startling veracity, also limits his imagination. It prevents him from delving too deeply into the psychology of these activists.

Brad Pitt gives one of his best performances as Sgt. Don “Wardaddy” Collier, a tank commander with a passion for killing Nazis.

This film is apolitical in the best sense - it bears witness to a time and a place.

For most of its two hours it’s brainy, high-speed entertainment, but the filmmakers are not quite as smart as they think they are. For all its flash and hypertalk, Steve Jobs is an old-school movie in new-style camouflage.