Shawn Levy

It ends on a random note, making an awkward plea for better ecological stewardship of the Earth, which looked so small and frail to the astronauts regarding it from the moon. But otherwise it's a satisfying and heartening reminder of what a glorious thing a small group of men once contrived to do.

Credit the great Bruno Ganz with creating a vivid Hitler: furious, unsteady, crushed and frankly cracking up.

It's a justifiably G-rated film, but parents may have some 'splainin' to do.

Transcends politics and forces us to consider just what it is we ask of young people who answer the call to duty.

The film always teaches and entertains in equal, ample measure. It's a treat -- and it's good for you.

One of those should-I-laugh-or-cry satires.

Can a movie about such a fellow and such a fate be lovely? And can it uplift? Control is and, in its artfulness, does.

You wouldn't want to be Daniel Johnston, or even know him too well. But see this film and you won't forget him.

There's a wonderful chemistry between them -- though the film wisely allows Duplass and Delmore an equally intimate connection. Choices like that enable the modest Humpday to capture the lives of its protagonists more credibly than any Hollywood-manufactured comedy of recent vintage.

It's a dark, brooding, moody film that follows a grim narrative to a logical inevitability and is nonetheless fully infused with a spirit of humanity.

A fascinating and frustrating film in turns, created out of scorching passions and built around a fascinating performance but rambling and choppy in the telling. It can overwhelm you and puzzle and repel you, sometimes within moments.

The real star is Katz, who has stretched into a longer and more plot-driven form without diluting any of his talents or compromising his personal vision. And the other star is Portland, which is so beautifully and truthfully rendered.

Because make no mistake: The Dark Knight is many things, some of them deliriously fun, some of them deeply impressive, and some of them puzzling and frustrating. But most of all it is dark.

Rubber is engaging, brisk and smart enough that the audience wins, too. It's grand, mindless fun that makes a thoughtful point.

The tension between the comely and comforting manner of the film and its undecided and beguiling content is, arguably, Haneke’s signature touch.

A sweet and wise little film.

As slapstick, as satire, as sheer gut-busting comedy, Borat is top notch.

There's so much to impress and delight you that the time flies by.

As it unwinds, What Lies becomes both masterful and preposterous.

A grueling film in both technique and subject matter.

An entertaining and fascinating film.

Football, they say, is a game of inches, and so can be moviemaking, and Leatherheads is a completely charming film that comes a few inches from being a great one.

They have been true to a classic source, using Adams' language and finding just the right actors, sets and costumes to flesh out his vision. Only the most persnickety cultist won't appreciate the effort.

Offers a lot of laughs, a heartwarming core.

It's a film with a silly story, and it's been dubbed laughably into English. Yet it's a transporting bit of fluff, full of zest, miraculous physicality and cheeky humor.

That it's based on a true spying case seems almost incidental. The heart of the picture is the human drama.

They were fast, they were sexy, they were clean, they were the future -- and they're already gone.

Like a picture postcard vision of his life and work: absolutely accurate as far as it goes but not too keen on looking too close for fear of uncovering anything untoward.