Sara Maria Vizcarrondo

The mix of groin injury and over-explanation could totally reach 9-year-olds and a greying Atkinson is still relentlessly lovable.

The film is a twisty and playful primer that suggests the best thing to do when beset with ugly forces is to publicly laugh them off. What happens in private is your business.

The film knows the aesthetic of enlightenment, the filmmakers demonstrate adoration for their subject, but whether or not the film grasps the principle further is very arguable.

This rags-to-sequins tale may be schmaltzy in its sincerity, but 'tis the season. Glitter is optional, but certainly encouraged.

A coming of age story in which the children better the world for the adults, Kore-Eda's heart is in the right place.

The premise is fetching and feels like a mystery, particularly as the film orchestrates its story to make the work of the Alps group seem like a kind of heist.

Contrary to all of my bitter nudging, I found both sweet and charming. It's just me: I hate precocious children.

Michael Fassbender (Fishtank, Inglourious Basterds) is reliably great, severely outclassing costar Knightley's grating performance.

In sum, the film is not without its sweetness. Carell's Barry retells the story of his life in dioramas populated completely with costumed, stuffed mice.

Panettiere's performance has the straightforwardness of a jumbo crayon.

With a powerhouse cast that also includes Steve Buscemi, Sigourney Weaver, Robin Wright, Ben Foster, Anne Heche, Cynthia Nixon and Ice Cube, the carefully crafted and trenchant drama will appeal to more audience members than it will to critics.

The song and dance interaction of kids hollering advice during Blue's Clues happens here on the big screen, which is meant to transform the movie into a social event of sorts.

With an incredible performance by young Natasha Calls and surprisingly effect direction by Ole Bornedal (Nightwatch) you'll be surprised how this horror gets you just when you think you're safe.

It's a trenchant modern western and fans of the genre should embrace it for more reasons than just the presence of the epic Sam Shepard who, by the way, owns this Butch Cassidy.

You'll be happier with the film if you don't expect fidelity to source material, but that doesn't mean you'll hate it if you loved Niels Arden Oplev's movie.

Clichés and thin thrillers are what we can expect from January releases and while Man on a Ledge has predictability to spare, it also has something that makes your time spent worthwhile: legitimate suspense.

Premium Rush has a rewarding relentlessness and a payoff that suggests that whirring city that surrounds us in is full of supporters who see past the system.

So Watching TV is less a story loosely bound by cause and effect than a kind of scrapbook of memories, all of which convey the concerns of being super smart and mostly confused in a culturally mixed Manhattan, circa 1980. The affection is sweet and precise, if even the terms we use to define them aren't.

The shadow of Whitney Houston's stardom and crushing recent death hang heavy over this midrange movie that promises its female audience at least three good cries during its somewhat overlong run time.

He's either daring you not to laugh or daring you not to care, but either way, you'll laugh, care and worry about the consequences in Dark Horse.

The feature directorial debut of Martin Zandvliet, Applause has moments of flourish and moments that reach towards something as pared down as Thea's play.

The pace is solid and engaging without putting you on the edge of your seat-you won't be looking at your watch, which means it's at least worth the time spent.

Upbeat, bitter, sweet and always gripping, Shut Up! Little Man gives remix culture the ucky origin story it likely won't heed, but could sorely use nonetheless.

A dating fantasy for girls and an action bromance for guys, This Means War wins the Valentine date crowd in swoops and strokes, but does it lead to swoons? Not really.

Directorially, the film takes a few too many trips into prosaic slow motion.

This is one of the super rare docs that packs an unbelievable punch despite its misguided aesthetics. It's a strange triumph of content over form, which is the province of journalists to report.

A traditional southern gothic, Septien delivers oddities from the perverse to the parochial with a straight face, and in the process restores the oddball genre to what might be called authenticity.

Surprisingly, George Clooney's direction is somewhat underwhelming with crucial conversations oddly lacking in tension.