Ray Greene

A movie whose confusing narrative and at times intriguing parts are at war with each other, and never quite gel.

The Words is a movie for people who buy their novels at Starbucks, made by people who write their novels at Starbucks.

The film is light-fingered and charming.

Like "Anvil," this is a crowd-pleasing triumph of the spirit, framed around a story so bizarre it sounds like an urban legend.

There is a passionate, combative and riveting documentary to be made about the plight of the American schoolteacher, but unfortunately the well-meaning, unfailingly decent and overly slack American Teacher isn't it.

Garbus' over-reliance on interviews that state rather than dramatize Fischer's excellence makes this a portrait that too often seems more overheard than inhabited.

Higher Ground is a weird film with some very nice moments, but its odd and offbeat combination of comic touches, serious spiritual subject matter and occasional surrealist interludes never quiet gels.

Programming the Nation is a lo-fi, issues-driven documentary carried along by the strength of its ideas rather than its artless desktop aesthetic.

Before The Ledge descends into third act melodrama, there are enough intriguing moments to make the viewer sense the better film this one wanted to be. A real shame that one didn't make it to the screen.

Pleasant is an underrated value in moviegoing, and pleasant is a word that describes director Sue Bourne's look at the world of amateur Irish dance competition in spades.

A formula picture made by someone who doesn't even believe in the formula - he knows it all has to work out, we know it all has to work out, and he can't even muster an ironic wink for our trouble.

The Music Never Stopped isn't exactly good, but it's definitely better than you fear it is when you reach the halfway mark.

The script is intermittently literate and frequently funny, the young cast (headed by Radnor) is highly appealing.

The kind of grim, character-based movie that needs a strong performer to anchor it. Director Derek Cianfrance has been fortunate enough to land two: Michelle Williams and Ryan Gosling.

It's impossible to watch this movie without feeling that you're in the presence of a good and decent man.

Far from a perfect movie, but there are moments when it comes about as close to catching the visceral kick of the pre-iPod rock experience as any film I've ever seen.

The soul of the movie is Mia Wasikowska, a radiant young actress who captures with quiet precision the quandary of a bookish "good girl" suddenly roused to wider personal and experiential possibilities, and to their potential cost.

Holy Rollers is mostly a marker being put down by some talents to watch, especially Eisenberg, who is greater than fans of "Zombieland" could have imagined.

Enter the Void was never going to be another "Avatar." It won't be another "Irreversible" either.

Benicio Del Toro looks even more like Lon Chaney Sr. than Chaney Jr. did, and he’s a far better actor than the previous Wolf Man.

First time documentarian Angela Ismailos has interviewed ten noteworthy international directors about their art, and then cut them together by skipping back and forth between their voices like an iPod in shuffle mode.

Green Zone is an exercise in commercial cowardice masquerading as a thriller about political bravery.