Ray Greene

July has mounted a surrealist fable about the delicate balance between relationships and the inner monologue inside each lover, with its incessant demands and individual needs. Unevenness is an aesthetic here - not so much a flaw as a conscious choice.

What I can say is if you're flesh and blood, and have ever suffered a substantial loss, you will be moved by Another Earth. And also renewed.

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.

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

Had this well-meaning movie been more willing to directly embrace its origins in Barnes’s luminous prose, it’s quite possible The Sense of an Ending might be something special rather than something worthy.

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.

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

A black comedy lacking somewhat in both blackness and comedy-isn't a bad film, exactly, but it is undistinguished, in the sense that its ideas and emotional payloads are both safe and small.

Although Tommy’s Honour has clearly been made by a golf obsessive who loves the links, it’s the rare sports biography that keeps its eye on the ball of character and milieu.

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

Director David Mackenzie's quietly accomplished film straddles the arthouse world and cult movies with a unique poetic vision.

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.

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.

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.

Hamm, an extraordinarily subtle actor whose quiet craft often gets overlooked, is perfectly cast for the tone Pellington wants to strike, and he’s able to emote convincingly in the narrow elegiac range in which Nostalgia tries to operate.

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

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.

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

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.

In this case, boredom is the deadliest sin.

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.

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