Ray Greene

What makes this movie truly special is that the source of Buck's uncanny gift is actually an acute childhood sorrow.

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.

Trachinger clearly has the wit and the talent to do thought-provoking and challenging work. All she needs is a producer with similar aspirations, and she'll be well on her way toward fully achieving the promise on display here.

An auspicious, controlled and altogether droll debut film that resembles Wes Anderson's "Rushmore" without being derived from 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.

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.

Bhutto's story is an epic one, and Hernandez and O'Hara prove up to the task.

With Sita, Paley brings the same, highly specific and very personal vision we associate with the best indie and alternative filmmaking to the animated form, and the result is riveting.

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.

Using clips from home movies, newsreels and public access TV, Davis does a heroic job of bringing the edgy and diffuse mixed-media New York art scene of the '80s back to life.

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.

The Tillman Story illustrates the amazing lengths the Pentagon went to in order to hide the details of that killing.

If it is possible to watch this work as a movie rather than using it as a referendum on its maker’s guilt or innocence, the audience that craves mature, sophisticated and grown-up entertainment will find much to admire here.

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.

Winter's Bone so far past any notion of formula or precedent that comparison is a futile exercise. This film is a thing all its own.

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.