Sara Stewart

Not surprisingly in this tale of desperate men, the only women are top-heavy cartoon characters — literally, animated sequences illustrate Frank’s stories — or live-action betrayers, like Dakota Fanning’s Annie, Frank’s ex-girlfriend. I found the cartoons more interesting.

The element that really makes it work — when it does, which is not always — is Edward James Olmos, playing to perfection a weary retired police detective.

Overall, Gibney does a fine job documenting the timeless nature of Armstrong’s fall from grace. It’s undeniably satisfying to see the man himself lay it out: “It’s very hard to control the truth forever,” he says, awkwardly. “This has been my downfall.”

This Belgian drama is the real deal, an alternately wrenching and ecstatic viewing experience, adapted from a play by lead actor Johan Heldenbergh.

A forgettable — and occasionally borderline offensive — animated tale of turkeys trying to take back Thanksgiving.

A big, dark film that should satisfy the many fans of the Orson Scott Card novel and engage newcomers, too.

This overlong drama plays like a threefold infomercial: for Christianity, the cheesy resort chain Sandals and Jeff “Ja Rule” Atkins, the rapper-turned-actor playing drug kingpin Miles Montego.

Teen Lisa Johnson (Abigail Breslin) is trapped in a kind of undead, unfunny “Groundhog Day,” living one particular 24 hours with her family over and over.

Though it boasts an eye-catching roster of supporting performances — Jennifer Hudson, Jordin Sparks, Jeffrey Wright, Anthony Mackie — most of the running time is spent with Mister (Skylan Brooks) and Pete (Ethan Dizon), and both child actors hold your attention impressively.

Italian director Carlo Carlei has a background in TV movies, and this film, plodding and earnest, seems meant for the small screen, too.

Leong’s film isn’t particularly stylish, but it makes the most of the climactic Knicks footage, as well as showcasing a sweetly goofy side of the 25-year-old, now playing for the Houston Rockets.

Director Anthony Leonardi, in his feature debut, litters the film with inconsistencies.

After Tiller is groundbreaking in giving voice not only to the doctors, but to those who always seem to get overlooked in the high-volume political debate about this topic: the women themselves.

At the risk of sounding 100, I think it’s regrettable this film had to be shot in digital 3-D. Both those formats actually do a frustrating disservice to the depiction of the action, making them look choppier, more flickery and occasionally blurrier than they would otherwise.

At the start of Insidious 2, a young woman opens her mouth to speak and someone else’s voice comes out of her. Demonic possession? Nope, just some inexplicable dubbing to kick off this clunker of a horror sequel.

As a distinctly not-insider, though, I would have benefited more from a broader portrait of the woman herself, and how she became such a legend.

The sweet-faced Kelly is a lovely and humble storyteller, and her enduring affection for John, Paul, George and “Richie” is palpable.

The birth of the titular infant — what the whole movie’s leading up to — is just an anticlimactic mess.

A first-rate example of good storytelling and well-timed — while not excessive — gore. Its disgusting, hilarious conclusion left me eager to see what’ll be next from director Jim Mickle.