Stephanie Zacharek

Dead Man Down is actually mildly entertaining, without being particularly fun.

Emperor may not be the most dazzling of history lessons, but it never treats the past as a dusty, deserted place.

A Place at the Table is a fairly no-frills effort, but the ideas behind it are sound.

Zero Dark Thirty is precise, definitive filmmaking, yet Bigelow refuses to hand over easy answers. Some people call that evasion. I call it the ultimate despair.

The violence is so indifferently presented that it has no kick; it’s not grim or graphic enough to shock, but it doesn’t rev us up, either. The picture’s various shoot-’em-up sequences are so generically conceived and shot that each one is indistinguishable from the next – by the movie’s end, they may as well all collapse into an exhausted heap.

Mama is one of those pictures that holds you aloft on its vaporous mood of dread – the occasional silliness of the plot mechanics don’t matter so much.

If Broken City – the first film to be directed solo by Allen Hughes, one-half of the Hughes Brothers directing team – is a little flawed and cracked itself, it still squeaks by as a reasonably thoughtful piece of big-screen entertainment.

LUV is partly a story about drugs, guns and street crime, the legacies we pass on to our children despite our efforts to do otherwise. But it’s also about the things we pass on to our children with love: How to tie a necktie, hold a steering wheel, shake another person’s hand. And it’s about the hope that those things will win out in the end.

Levine – whose last picture was the intriguing, if only partly effective, cancer comedy “50/50” — is going for something more here, exploring what makes us human by contrasting it with a character who has lost all the basics and is desperate to get them back.

Watching Identity Thief will steal nearly two hours of your life that you’ll never get back. It takes far more than it gives.

No is anything but a somber political tract; it’s a little bit of a thriller, and more than a little bit of a comedy.

Dark Skies is about the fragility of family, a muted meditation on how precious it is...it does affirm that genre filmmakers who work with their eyes, their hearts and their brains still walk among us.

The picture coasts along quite nicely on the strength of its contemplative sensuality, its macaron colors, and the exquisite beauty of its three chief actresses, Léa Seydoux, Virginie Ledoyen and Diane Kruger. Oh, and there's nudity in it too, not to mention lesbian undertones – or are they overtones?

Though it's a bit of an oddity, it's an affecting curio suitable for both Hardy enthusiasts and Winterbottom fans alike.

Stone's moralism, coupled with discreet but bloody beatings, shootouts and all manner of tawdry goings on, rings hollow. The picture is neither entertaining nor preachy – it is simply very loudly meh.

Probably not as good as you hoped or as bad as you feared.

One of the tricks of Ted -- perhaps its smartest one -- is that everyone, not just John, knows the bear can talk.

This is a straightforward family comedy-drama, a movie made for adults, and one that actually gives its actors – among them Chris Pine, Elizabeth Banks, Michelle Pfeiffer and Philip Baker Hall – something to do. That's more of a rarity on today's landscape than it should be.

It doesn't take long for Bekmambetov to wear out his welcome with a laundry list of generic-looking action sequences: When you've seen one vampire get stabbed in the eyeball, you've seen 'em all.

My heart belongs to Bear Elinor, whose movements and mannerisms are a tender echo of Human Elinor's – her character is designed and drawn just that carefully.

To Rome with Love - rangy, vaguely ridiculous and trepidatiously optimistic - is Allen's film for tomorrow.

I was with the movie every step of the way, right until the final credits began rolling – at which point I realized that the whole thing made no sense whatsoever, and that none of my nagging questions about what the hell was going on would ever be answered. There's a distinction to be made between being a dupe and being had.

Seeing Tom Cruise swathed in leather pants and fake tattoos, as Axl Rose-style metal god Stacee Jaxx, is supposedly Rock of Ages' big draw. But the movie is much more fun when he's not around.

None of it quite works, but it seems Beresford did his damnedest to try to pull it off.

It's imaginative only in a stiff, expensive way. Scott vests the movie with an admirable degree of integrity – it doesn't feel like a cheap grab for our moviegoing dollars – but it doesn't inspire anything so vital as wonder or fear, either.

"Piranha 3D" was ridiculous, gory and fun, everything Piranha 3DD is not.

Why can't heroines just be heroines anymore, instead of micromanaged personalities who may as well have the words "Role Model" tattooed across their foreheads?

The picture sparkles, but in the nighttime way - its charms have a noirish gleam.

Most wonderful of all is Josh Brolin as the young Agent K. It's so easy to believe that Brolin could turn into Jones, given a couple of decades.

So why can't I love Moonrise Kingdom? For all the movie's technical meticulousness, the storytelling still has a wiggly-waggly quality, like a dangly loose tooth.

Actually, The Intouchables isn't bad - its merely shameless, but at least it's overtly so.

Actually, the picture is perhaps not quite as painful as you might be expecting, though probably not as enjoyable, either.

The picture is at least spirited, a jaunty trifle that's low on eroticism but high on cartoony coquettishness. Like the little motorized whatsit that is its subject, it does have its charms.

The Dictator, for all its liberal leanings, doesn't let anyone off the hook, not even well-intentioned liberals. Cohen comes right out and says things that most of us, in polite conversation, wouldn't dare. He knows it's the impolite conversation that really gets things moving.

Parts of Dark Shadows look lovely. So what happened to the story?

Its occasional entertainment value aside, the picture is also blithe to the point of being flimsy.

Walks the jittery line between being exploitative and too sensitive, and while it's probably a relief that it tips more toward the latter, the movie also seems a bit unclear in its motives.

Documentaries don't have to be technically great to be irresistible, and Bess Kargman's First Position, which follows six young ballet dancers as they prepare for an elite competition, is a case in point.

The tiniest bit of Hudson's wrinkly-crinkly cuteness goes a long way, and in A Little Bit of Heaven, watching her waste away becomes slow torture. She's like an adorbs Camille.

The picture is broken down into narrative chunks that ultimately don't tell much of a story – what you get instead is a series of mini-climaxes held together by banter between characters.

It's hard to say whether Sound of My Voice is a wholly bogus and pretentious indie enterprise or a weirdly compelling bit of low-budget storytelling.

A handsome-looking thing, with fairly grand period costumes and reasonably lavish sets. So much for production values: In every other way the picture is stiff and unyielding, hampered by a clumsy plot and diorama performances. The whole thing has the feel of a second-rate living-history exhibit.

It has neither the Red Bull–fueled crudeness of "Crank" nor the Frenchified lunatic vitality of the "Transporter" movies; it's not even as cheaply entertaining as the generic hit-man retread "The Mechanic." Safe shows Statham comfortably treading water, proving all the things he no longer needs to prove.

It was a stroke of genius, at least a miniature one, to cast Black in this role – he's made to play the affable teddy bear who could snap at any moment.

It offers glancing pleasures of the atmospheric kind – the impact is the equivalent of a filmy cobweb brushing against your cheek. It tickles more than it bites.

By the end you feel you've learned something about the man, yet his mystique emerges intact.

There's too much people and not enough dog in Lawrence Kasdan's Darling Companion, and even if you prefer people to dogs, that's a serious problem.

Bobby and Peter Farrelly's The Three Stooges is not particularly great, though it is possibly brilliant, a picture that goes beyond homage to become its own rambunctious invention - it's one big eye-poke, with footnotes.

Rather than rushing to determine the cause of death – of love, or of a country -- it stubbornly keeps listening for a heartbeat, even though there may not be one.

As lukewarm as We Have a Pope may be as a piece of filmmaking, Moretti doesn't tread particularly gently into sacred territory. The picture could be more irreverent, but at least it dares to suggest that popes are people too.

The picture is devilishly entertaining, not least because it's laced with just the sort of dumb raunchy jokes you hate yourself for laughing at. But it also preserves, to a degree, the elemental sweetness that made the original so distinctive.

How much you enjoy Damsels will depend on your tolerance for Stillman's particular brand of duct-taped Sperry Topsider whimsy. It's a comedy! It's a musical! It's a trip down memory lane to revisit the blissful confusion of our - or someone's - college years!

Mirror Mirror has a great deal of energy and wit and color, so much that it sometimes threatens to go right over the top. Somehow, though, it always stops short of being just too much.

Crude, violent and deeply enjoyable.

Bully is much better when it sticks to simple storytelling. And storytelling, not grandstanding, is the thing that just might grab the attention of, say, school administrators, people who can have some effect on how bullies are dealt with.

The picture is also weirdly compelling, maybe most notably for the way Dafoe's character - who is, in this respect, perhaps a stand-in for the Bronx-born Ferrara - seems to be grappling less with the idea that the world is ending than that the city is ending.

There's such a thing as having too much reverence for your material, and although Davies is an extraordinarily gifted and principled director, The Deep Blue Sea may suffer for that reverence.

There's action here, too, and a great deal of vitality that feels true both to the spirit of Collins' book and to the idea of movie entertainment as it exists.

At what point do we stop applauding the Duplass brothers for their gumption and stick-to-itiveness and admit that, maybe, their storytelling just isn't so hot? Or that their characters sometimes seem more like groovy-cute constructs than believable people?

For now, 21 Jump Street is a small puff of fresh air simply because it's not, like umpteen other releases coming down the pike, based on a comic-book series.

The real strength of The Kid with a Bike is the cautious but generous warmth of its storytelling. Not much happens in The Kid with a Bike, but it leaves you grateful that the worst doesn't happen - with these characters, you might not be able to bear it.

Spirit counts for something too, and John Carter has plenty of that, in addition to the requisite dashes of wit.

This is good-for-you, arthouse-style horror. Which doesn't mean it's necessarily any good.

At its simplest level, Jiro Dreams of Sushi is a portrait of a master. In its deeper layers, it explores what drives us to make things: Beautiful, jewel-like things, or things that delight our palate – or, in this case, both.

What Cedar captures here is the way a father and son can be bound so tightly they almost choke the air out of one another. You can't exactly call it affection; it's that far more complicated thing we call kinship.

Jennifer Westfeldt's sort-of romantic comedy Friends with Kids is on to something, even if in the end it suffers from a failure of nerve.

On the surface, The Salt of Life may seem like a movie made just for old folks. The trick is that it really is about the youth that stays with you, even when your aging body is working hard to convince you otherwise.

The Lorax is so big, flashy and redundant that it courts precisely the kind of blind consumerism it's supposed to be condemning. It doesn't trust kids to sit still and pay attention for even a minute.

There's no doubt that Being Flynn is an attempt at something painful and genuine – the movie itself yearns to make a connection, even if it can't quite locate the most effective channels.

A small but extremely significant message in a bottle. That metaphor is almost literal: The picture made its way to Cannes via a USB drive -- which was smuggled in a cake.

Seyfried has spent too much time lately in vehicles that aren't worthy of her, "Red Riding Hood" being the most egregious example. Gone at least takes her seriously – except when, to delicious effect, it doesn't.

It's the kind of movie that makes the world feel like a smaller place, suggesting that the similarities connecting us across continents and cultures are more resonant than the things that divide us.

Safe House is a twisted claw of a movie, a picture so visually ugly that, to borrow a line from Moms Mabley, it hurt my feelings.

This is the kind of sophisticated storytelling you rarely get even in live-action movies any more, full of unexpected turns and unruly human complications.

The picture is celebratory, in its own quiet way, as well as clear-eyed.

The pleasures of the period ghost story The Woman in Black are something like the creepy shiver of delight you get from Edward Gorey's illustrated poem "The Gashlycrumb Tinies."

Wheatley drops enough unnerving bread crumbs in the first two-thirds to leave you wondering where the hell he's headed, and even the big finale should be satisfying enough: It just belongs to a different movie, and it's unsettling in a way that doesn't feel earned.

But there's so much going on in Big Miracle that the biggest miracle of all – the whales at the center of the story, get lost amid all the criss-crossing love stories, political wheeler-dealing and well-intentioned but inadequate rescue missions.

Either in spite of or because of its whimsically convincing quality, Man on a Ledge is reasonably fun to watch along the way.

What is surprising is how poetic the movie is, partly thanks to its high-lonesome sound design and the desolate beauty of its visuals, but mostly because of its star, Liam Neeson.

Between the Truffautish voice-overs and Jacques Demy-style musical interludes, it's a wonder anyone in this sort-of drama, sort-of comedy ever gets any rest.

In the end Red Tails is mostly about the coolness of flying. Its heart is in the clouds, instead of with the men at the controls.

That she makes it all look so effortless is part of the fun – as long as you're not unlucky enough to be the guy with his nut in the nutcracker.

It's valuable for both the vintage footage Rostock has collected and for the observations provided by Belafonte, who is as charming, handsome and persuasive in his mid-80s as he ever was.

It's hard to say whether Patric Chiha's unabashedly out-there drama Domain is actually good or whether it simply nuzzles very cozily against the shoulder of so-bad-it's-good. After seeing the movie twice, I'm inclined to say Domain splits the difference.

A well-intentioned, pleasant-enough picture that shoots off in too many directions to ever ignite.

A movie like Norwegian Wood is a peculiar case – its intentions are sterling, and it's hard to pinpoint any technical flaws. The problem, maybe, is that it's trying too hard; Tran has such firm control over the storytelling that the resulting picture has no room to breathe.

The result is a kind of homespun video scrapbook, bumpy seams and glue splotches and all; it's flawed, but at least it feels handmade and human.

A Separation doesn't try to make easy sense of that world, or of this family's suffering. It's simply a quiet cry of anguish.

Some of us wonder, still, how Margaret Thatcher can continue to live with herself. Watching Meryl Streep walk around so ably in Thatcher's skin isn't enlightening; it's more like a living nightmare.

For all its borrowing from old Hollywood, I don't think War Horse is particularly nostalgic. The word I'd use is wistful. It's the largest, most lavish handful of wistfulness money can buy, and sometimes it's too much. Yet it's nice to know that even Steven Spielberg can still wish for something.

The only bright spot in Extremely Loud and Incredibly Close is Max von Sydow, as a mysterious, and mysteriously mute.

What's remarkable about Pina is how democratic it is, how casual it is about opening up the world of modern dance to people who know, or perhaps care, little about it.

Everything in The Adventures of Tintin is meticulous - this is a Steven Spielberg movie, after all.

Craig has one clear advantage over Michael Nyqvist, the actor who played the same character in the Swedish Girl movies: He has erotic charisma to spare, as opposed to Nyqvist's perfunctory, doughy sexuality.

Is it entertainment? Is it satire? Is it art? It's probably a little of all three, and yet ultimately not quite enough of any.

W.E. is actually two intertwining stories - or maybe, more accurately, two stories clumsily rubbing against each other in an awkward attempt to set off a spark.

We Need to Talk About Kevin is a little too facile in the way it sets up the horrific climax: Just one look at this kid and you know he's trouble, yet no one besides mom can see it.

The movie's intricacy, and the way it finds its way into the emotional lives of its characters via (and not in spite of) that intricacy, is what makes it extraordinary. Tinker, Tailor, Soldier, Spy challenges audiences to believe in craftsmanship again.

Sleeping Beauty is best experienced as a piece of fragmented poetry rather than a strict ideological tract.

Mulligan is terrific here, and restrained in a way that suggests an actorly generosity unusual for someone so young: Her scenes with Fassbender don't so much say "Look at me" as "Look at him."

Fiennes works hard to keep the rhythm going: He stages hand-to-hand combat sequences and knife fights as if he were making a smart action movie, not adapting Shakespeare, which is precisely the point.

It's a picture that romances its audience into watching in a new way - by, paradoxically, asking us to watch in an old way. The Artist is perhaps the most modern movie imaginable right now.

One thing My Week with Marilyn does get right is that women were as enchanted by her as the men were, if perhaps in a different way.

Hugo states, in its adamant, straightforward poetry, that old things do matter.

In short, Cronenberg has made an elegant film, with spanking. There's some mildly kinky sex in A Dangerous Method, but Cronenberg makes it neither exploitive nor so tasteful that it loses its charge.

Robin Williams, who's sometimes too overbearing in real-life live action, makes a great cartoon-character voice.

It's the most imaginative picture in the franchise.

The Descendants is an ultra-polished picture in which every emotion we're supposed to feel has been cued up well in advance. There's nothing surprising or affecting about it. Not even Clooney, who works wonders with the occasional piece of dialogue, can save it.

It reminds me more of Shane Black's "Kiss Kiss, Bang Bang," though ultimately it's darker and more raggedy around the margins. Still, Monahan, like Black and unlike Ritchie, has some feeling for his characters.

The actresses' performances intertwine beautifully, like twin climbing vines vying for the attention of the sun.

As Lily Tomlin's Ernestine once said, "There's nothing like a Hoover when you're dealing with dirt." Clint Eastwood's J. Edgar could use more dirt: This is a sensitive, sympathetic portrait of a scummy little man.

It's an extravaganza of bad taste that in the end just tastes bad.

Tower Heist is overstuffed with actors, and yet Ratner manages to give each of them one or two good moments.

Even if there were a compelling narrative here to begin with, Montiel's excessive technique would throw you right out of it.

Ifans takes dorky, grandiose dialogue and turns it into something almost - well, Shakespearean.

In Time has so much style and energy that it comes across as an act of boldness rather than just a liberal-minded tract, though of course, it's that too. If there were ever a movie made for the 99 percent, this is it.

Le Havre proceeds from the usual Kaurismäkian premise: Things are only going to get worse, so why not just go with it?

Johnny English Reborn never quite ignites, even though it starts out promisingly enough.

Olsen's performance is restrained but not tentative; you could say the same for the movie around it.

Moretz brings some natural gravity to a role that hasn't been adequately fleshed out.

There are some body-horror gross-outs if you're into that sort of thing, but mostly what you get are a bunch of too-obvious leftovers from the "Alien" stockroom, including a selection of moist innards, slimy tendons, dripping fangs and the like.

Brewer, who spent most of his childhood in Memphis, is one of the few contemporary filmmakers I know of who can make movies about the South without sentimentalizing it, glorifying it or looking down on it.

Naranjo keeps the action tense but understated; instead of allowing explosions and shootouts to pile up, he rations them in taut doses.

The Ides of March doesn't cut as deeply or as sharply as Clooney might like, but at least he found the right actor to navigate its dark emotional twists and turns.

It goes through all the motions, properly and efficiently, and yet it's missing some core warmth. Watching Real Steel, I kept thinking of Brad Bird's retro-modern cartoon "The Iron Giant," and of how that picture humanized a metal alien so effortlessly.

Dirty Girl is harmless enough, and the early scenes, in which Danielle surveys poor Clarke with snobbish contempt, have a pleasing nastiness.

It's painful to watch a movie like Dream House - well-acted, beautifully shot and directed with extraordinary care and attention to craft - only to realize that the story, the alleged backbone, is absurd.

The picture could be so much better than it is, and yet it's also the kind of movie that makes you want to grade on the curve, adding extra points for good intentions.

There's a fine line between a character who has a sense of humor about herself and one who's being repeatedly humiliated for entertainment value, and I'm afraid Ally falls on the wrong side of the line.

The economics of star casting aside, what would Take Shelter have been like with James McAvoy or Mark Wahlberg or Jake Gyllenhaal at its center?

Even if Dolphin Tale hits every note square on the nose - or maybe because it does - watching it is surprisingly pleasurable.

The picture, the debut feature of Irish director Gary McKendry, is rote and joyless, an exercise in disposability.

Now that Pitt no longer has brash youth on his side, he's digging deeper and doing more with less. It's the kind of acting - understated but woven with golden threads of movie-star style - that gives us more to look at rather than less.

The picture is so fluttering and tender, so guileless, that you almost can't believe it was made by an old hand like Van Sant. Then again, maybe you can.

Drive not only met my hopes; it charged way over the speed limit, partly because it's an unapologetically commercial picture that defies all the current trends in mainstream action filmmaking.

I've seen Detective Dee twice now, and I still don't think I've taken the full measure of the visual nuttiness, and lushness, Tsui has packed in there.

Del Toro loves his creatures. Maybe he loves them too much: He always wants us to get a good look at them, and that's one of the things that saps the spookiness from this Don't Be Afraid of the Dark.

It's the kind of movie whose value lies between the lines, not directly on them, and if the pleasures it offers are slender ones, at least there's something good-hearted about them.

We need to wait nearly 20 years for the romance in Lone Scherfig's One Day to get cooking, and for long stretches it seems as if we're watching this particular pair of nonstarters hem and haw in real time.

The movie's look is artificially grainy, and most of the scenes are encrusted with CGI - you'd have to chip it away with a chisel to get to anything human or interesting or even remotely fantastical.

For every line or gag that works, there are three or four more that seem to belong in a different movie altogether, either a darker one or a breezier one.

The "black maid" may be a cliché. But when was the last time we saw a story told from her point of view?

Too earnest and dour to be a silly bit of summer fun, but it's not exactly scientifically sound, either.

Crazy, Stupid, Love. is, for the most part, an effective love story, but the two figures in thrall to one another aren't the ones you think: The magnetism between the movie's two male stars, Steve Carell and Ryan Gosling, is what really makes the movie tick.

The picture's finale isn't as smart as it ought to be. Cornish tries to make a damning social statement, but the only thing you take away from the movie is how cool it is to kick alien ass.

Every actor in Friends with Benefits, including the nearly indestructible Patricia Clarkson and Richard Jenkins, stalls out in the process of pedaling desperately to make this substandard material work.

In the end, the action sequences are just overblown and dollar-squandering, with no particular payoff in the entertainment department. The supporting actors - particularly Jones, Tucci and Luke - are the thing to watch here; they do all they can to keep the movie's gears running smoothly.

It's an amusing enough story, all right, and it adequately fills up Tabloid's 88 minutes - but a minute longer would have been too much.

To invoke Pauline Kael's review of Diane Kurys's "Entre Nous," it's about two women not having a lesbian affair.

The movie's final moments are the equivalent of the half-jubilant, half-mournful thrill you get when you close the cover of a book you've savored.

Breillat manages to give us a lush, quiet spectacle with The Sleeping Beauty.

Aside from having murder on their minds, these three are a lot more well-behaved than the "Hangover" guys.

Getting a movie's setup right is one thing. But following through on an intriguing premise is the hard part, and that's where Matthew Chapman's The Ledge, a thriller that wrangles with intricate ideas about faith and religious extremism, goes splat.

In the early scenes of Larry Crowne, Hanks' Larry is so assertively regular he almost comes off as a special-needs child - grinning into his coffee-cup in the big-box-store break room, he has all the sexual allure of Forrest Gump.

Bay doesn't care about your soul, he just wants your money - but he at least makes sure you go home feeling exhausted and spent rather than vaguely dissatisfied. It's a fair exchange.

The plot of Cars 2 is both overly convoluted and thin, and it folds in so much unvarnished toddler-instruction that it almost feels like an educational film.

Bad Teacher is hardly a perfect picture, but in the context of every other comedy on the summer movie landscape - from the faux empowerment of "Bridesmaids" to the neurotic frat-guy heteromania of "The Hangover Part II" - it feels revolutionary.

O'Brien describes a number of those basic human feelings that drop-kick all of us from time to time, like being resentful of anyone and everyone who still has a job when we don't.

Takes forever to get going and then goes nowhere.

While the media desk isn't the whole of the New York Times, it does give Rossi a solid perch from which to survey the paper's recent and ongoing struggle for both relevancy and revenues.

The whole enterprise is surprisingly painless, albeit in an icy-cool, numbed-out way.

In the early moments of The Trip, you wonder if either actor will survive the enterprise.

The timing couldn't be more opportunistic for a new Steven Spielberg movie that mines the thrilling uncertainties of childhood - even if it happens to have been made by J.J. Abrams.

How much human love is too much for an elephant? That's the question Lisa Leeman's One Lucky Elephant attempts to answer, without sentimentality but with the right amount of compassion.

Beginners is all about beginnings that begin with endings - the point, Mills seems to be saying, is that sometimes you need to say good-bye to make room for hello.

So while X-Men: First Class at first takes its source material with just the right amount of self-deprecating seriousness, it founders in the second half, when it becomes overburdened with squirrelly plot mechanics and an excess of self-evident dialogue.

You don't have to believe all of it - or even any of it - to enjoy the rascally charms of Mr. Nice.

The Tree of Life is gorgeous to look at. It's also a gargantuan work of pretension and cleverly concealed self-absorption masquerading as spiritual exploration.

It follows the same essential pattern as its predecessor, but the ingenious loopiness is gone; the mechanism behind it grinds instead of whirrs.

The best Allen movie in 10 years, or maybe even close to 20 - is all about that idea: Reckoning with the past as a real place, but also worrying about the limits of nostalgia.

The picture is cluttered and convoluted and big, and Marshall - taking over the reins from Gore Verbinski - doesn't seem to grasp how exhausting nonstop action can be.

Bridesmaids is the Bride of Frankenstein of contemporary comedies, a movie stitched together crudely, and only semi-successfully, from random chick flick and bromance parts.

I never would have believed it, but Branagh gets the balance between pageantry and silliness just right.

As horrific as Something Borrowed is, it's compelling in its own sick way.

Foster's performance is crisp and forthright and surprisingly moving. There's something affecting about watching this disciplined, no-nonsense actress deliver her lines to a hand puppet - she's always game, if not exactly relaxed.

Cave of Forgotten Dreams is compelling, sometimes in a hypnotic, sleepy-bye way.

The picture does, in places, feel like an unspoken homage to Kurosawa, though it's certainly its own distinct creation. But I wonder if it more closely resembles another end-of-an-era picture, Sam Peckinpah's "The Wild Bunch."

It's either genius or madness to put Diesel and Johnson in the same movie, or the same scene. They're both enormously appealing performers.

Unfortunately, Silver's movie doesn't cut deep enough: It glosses over some thorny questions and hammers too fixedly on others.

One of those big, extravagant-looking romances that you might automatically deem "conventional" - except for the fact that almost nobody makes big, extravagant-looking romances anymore.

The subject of Spurlock's movie is Spurlock, and while he may be reasonably affable, and sometimes extremely goofy, it's a stretch to call him controversial.

Mostly, though, African Cats is extremely tactful about the truly harsh stuff that goes down in the world of nature.

Armadillo tells us lots of things we shouldn't be so naïve as to think we don't already know. Maybe we need to see these things again and again, just so we don't lose sight of the costs and risks of the wars in which American and European soldiers are currently engaged.

If nothing else, Rio is unabashedly jubilant.

The bad news is that The Conspirator - doesn't have enough crackle.

Thus ends one of the most understated shark-attack sequences, ever; it's almost Bressonian, except it's not boring.

Step over to the liquor cabinet and mix yourself a good, stiff drink - if you plan on seeing this godforsaken thing, you'll need it.

Meek's Cutoff is an ambitious feat of visual storytelling that's alive to both its landscape and the actors who people it.

Bier appears to have a delicate touch with actors: In a Better World is loaded - perhaps overloaded - with nuance, and her performers never overdo a thing.

There's nothing in it to inspire excitement or even a mild glimmer of delight; it's almost offensive in its dullness.

Rubber could have been a modest horror novelty, a wicked, malevolent version of "The Red Balloon."

The chief reason to see Potiche - maybe the only reason - is Deneuve.

So much of Abbas' dialogue consists of stiff platitudes (the script is by journalist Rula Jebreal, based on her novel of the same name); the character she's playing has been reduced to a dull, saintly figure, and not even Abbas can find a way out of that miniature prison.

Peep World barely seems like a movie. Withered and shrunken, it feels even too small for TV.

Even the gags we've all seen before are handled so deftly you almost forget how ancient they are.

How, I'm wondering more and more often, do studios put movies like this one in front of audiences and assume they'll just buy it? The secret to making a great, or even just a good, thriller these days seems to have been lost.

Furman keeps the drama taut when it needs to be, and loosens the reins easily when it's time to kick back - he has good control over the movie's rhythms.

What Press comes up with in the end isn't just a portrait of individual eccentricity. Its larger subject is the way one man, just by being alive to what's around him, has created a vast, detailed anthropological record of how New Yorkers present, and feel, about themselves.

Aside from a few arresting visuals, Red Riding Hood is just a slog through the woods.

Sex is threatening, as Brontë knew, and Wasikowska and Fassbender make this particular dance look exceedingly dangerous.

The picture is rambunctiously affectionate; Guiterrez may go for the broad joke, but never the cheap one.

Take Me Home Tonight isn't nearly as much fun as the '80s actually were. Even worse, it's less fun than most '80s comedies were - and that's bad.

To paraphrase something Quentin Tarantino once said about Sergio Corbucci, Verbinski loves the uglies. They return the favor by looking almost beautiful.

If anything, Joe's sense of dream logic is more naturalistic than Lynch's, more grounded in the knowable world - as much, that is, as we can know about nature - and the luminous Uncle Boonmee is no exception.

There's even a shootout sequence that plays out, from start to finish, while our hero is in flagrante. That's something I don't believe I've ever seen in a movie.

There's a lot that works in Heartbeats - so much that its flaws stand out in disappointingly sharp relief.

What a dud of a story! You know what it needs to dress it up? Garden gnomes.

It's a movie that needs to look down its nose for its laughs, which generally isn't the best place to find them.

Cold Weather is partly a movie with an actual plot, not just a portrait of young twentysomethings adrift in unfulfilling circumstances.

The supposition, maybe, is that in an alleged thrill ride of a movie like this one, the words aren't supposed to matter.

It takes too long for the story to come around to the fact that Will is just plain nuts - and even then, he gets over it in a heartbeat.

It's all goofy stuff, played for laughs, but it's clear we've been catapulted into a world where things are not quite right.

Hopkins is having a blast, and he's fun to watch.

Mostly, The Mechanic creaks and groans as it goes through the motions, and not even its lavish violence - which includes much smashing of heads and a nasty screwdriver stabbing - is particularly electrifying.

A small movie with modest ambitions, and accordingly, it packs only a modest emotional punch.

It's all just too cute for words, and more's the pity. Because in the end, No Strings Attached is more meaningful for what it does rather than for what it says along the way.

This is a household in which the rules are very formal, and they're matched by the formality of the filmmaking.

An adaptation that wholly and faithfully captures the spirit and mood of the book it's based on, and an example of computer animation - the 2-D sort - that shows the human touch in every frame.

Season of the Witch is barely even a Nicolas Cage movie. He wanders through the picture, zombified.

The faces of these performers - particularly Williams' - are the key to Blue Valentine.

Nothing says "Awards Season" like feel-bad cinema, and with Biutiful, Iñárritu hauls out the big guns. He also, maddeningly, has one hell of a weapon in his star, Javier Bardem.

Mattie is a no-nonsense mite with a forthright manner and a mean head for figures; she wears her hair in two sturdy braids whose tips have never seen the inside of any inkwell, believe you me.

Coppola is a filmmaker who fills up a big canvas with small moments: That's the opposite of working in miniature, even though she's attuned to the tiniest details.

The animation itself is technically gorgeous, a class act all the way. But there's so little to be found in the faces of the characters, or even in the way their limbs move (much of it adopted, cleverly enough, from Tati's own physical style), that it's not clear what we're supposed to feel for them.

An ungodly mess that's great fun to look at for about 15 minutes and exhausting the rest of the time.

Hickenlooper too often approaches his subject with the filmmaking equivalent of a wry chuckle.

Tries too hard and ultimately achieves less. It's undone by its own inferiority complex.

Director John Cameron Mitchell - adapting David Lindsay-Abaire's play - has a surprisingly deft touch with this admittedly downbeat material; he builds dramatic intensity in subtle layers, rather than slapping it on with a trowel.

A massive wedgie of a comedy, which is to say it's a comedy of extreme discomfort.

The thrill of Tony Scott's Unstoppable, in which a runaway freight train hurtles through rural - and toward not-so-rural - Pennsylvania, is that its setup asks us to believe only in human ineptitude.

As potentially appealing as these two actors might be, there's just nowhere for this story to go.

A direct and heartfelt piece of work. It's conventional, maybe, in its sense of filmmaking decorum, but extraordinary in the way it cuts to the core of human frustration and feelings of inadequacy, reminding us how universal those feelings are.

The Company Men is infinitely more despairing and yet also, paradoxically, more hopeful. It suggests that work can actually mean something to people, beyond just giving them the means to afford a nice house or a fantastic car.

But what makes Burlesque truly delectable - for the first half, at least, before its going-nowhere storyline really heads south - is its less obvious camp value.

If Elise and Frank are opaque to each other, they're opaque for a reason, as, sadly, lovers sometimes are. (Come to think of it, this picture has more in common with "The Lives of Others" than you might expect.)

Harry Potter and the Deathly Hallows: Part 1 is probably about as good a movie as you can make from just half of a rather complicated book. But then, it's not just a movie but a promise: When Part 2 arrives, next summer, a cloud of desolation is likely to descend upon us.

The tragedy of The Fighter is that Wahlberg's performance suggests a character who wants more. And yet Russell barely seems to notice how much subtlety Wahlberg brings to his role, or to the movie at large.

Barney's Version is too much of a sprawl to have much of a lasting emotional effect.

This is a love story in which one of the partners repeatedly does some really bad stuff, and while it's easy enough to admire him for his ability to get away with it all, it's harder to square the way he so cheerfully dupes innocent people, including his beloved.

Aronofsky isn't loose enough, or canny enough, to be in touch with its camp soul.

The plot is worked out with care, and it takes its time, unapologetically, in a manner that's perfectly suited to thinking adults. The whole enterprise reeks of class.

Skyline is a piece of junk, even in a movie climate littered with expensive - though sometimes fun - junkiness.

Breezy and enjoyable.

But damned if Boyle, with the help of his star, doesn't make the experience almost… cheerful.

The idea, in the end, is that even lovable loonies can do a lot of damage.

Hornet's Nest is filled with boring, not-great-looking white guys, talking - a lot.

These are all people you feel you've met before in other movies, if not all at once. But the movie's saving grace is that they don't always behave as you expect them to.

Unsettling, energizing and more than a little mystifying, Amer is the kind of movie that may leave you feeling indifferent or puzzled at the end. But damned if it doesn't return, days later, to visit - kind of like a killer in black leather gloves.

A smart, sophisticated songsmith in the tradition of Cole Porter, or an inscrutable, pretentious twit? In the course of his near-20-year career, Stephin Merritt - the sort-of frontperson for the indie-rock collective Magnetic Fields - has been considered both.

Paranormal Activity 2 sinks much lower than it needs to in order to get a rush out of us - and in the end, the rush isn't even that great. The movie puts us through the paces with minimal payoff.

It's hard to know how much of what's wrong with Hereafter stems from Morgan's screenplay, which lacks the characteristic tartness (and brains) of other movies he's written, like "The Queen" and "Frost/Nixon."

Most of Stephen Frears' Tamara Drewe is so breezily entertaining, and so bracingly clear-eyed about what total pains in the asses writers can be, that its final 15 minutes feel like an all-wrong slap in the face.

Takes great pains to be a compassionate love story; but the filmmaking itself, self-consciously restrained and desiccated, is inert and inexpressive.

Just the latest forgettable thriller that might have been enjoyable if only its conclusion lived up to its windup.

The movie chickens out. In the Valley of Elah could have been really interesting -- and really daring -- if it had focused on Hank's realization that his own child, supposedly a good kid, had perhaps committed the kinds of atrocities that would make any decent human being recoil. The movie (which Haggis also wrote) dances around that territory, but doesn't dare to march straight into its terrifying maw.

Cassandra's Dream, an earnest meditation on greed, desire, murder and class struggle, is one of Woody Allen's funniest movies in years -- except Allen doesn't know it.

In the Loop is clever and lively, but it isn't sharp or nasty enough to cut very deep; at best it's just a peppery trifle.

The picture has a lax, sleepy vibe: There's never anything taut or electric about it. And so, like Pacino's character, we sleepwalk through it.

So bad it's almost like performance art, or those cheap records from the '60s, where the Chipmunks sing the Beatles' greatest hits.

It's a cross between confidence and vulnerability that's hard for an actress to pull off, but Streisand hits the note perfectly. And her greatest moment of acting, I think, is also the picture's strongest musical number.

Wedding Crashers may be the most optimistic Hollywood comedy of the year, because it restores at least some dim hope that directors, writers and actors with actual brains in their heads can somehow triumph over unimaginative studio execs. In that way, Wedding Crashers isn't just the life of the party, but its pulse.

Everything about You, Me and Dupree, even the toilet humor, is tepid and rigorously inoffensive

May be overly sentimental at times, but at least it's about something.

Like its star, Salt is a spare and lean piece of work; it's everything a modern action movie should be, a picture made with confidence but not arrogance, one that believes so wholeheartedly in its outlandish plot twists that they come to make perfect alt-universe sense.

The group's members come off more like real musicians than parodists.

It's mournful and troubling in a way that goes beyond ordinary movie manipulation. It burns clean.