Steven Rea

Girl on the Bridge, with its doomed art-house romanticism and echoes of Fellini, may not be the deepest piece of filmmaking out there now, but it is easily the most intoxicating. Take the leap.

Wildly sad, funny and terrific documentary.

Weirdly funny, inspiring film.

Assembles varied and remarkable digital video, archival footage, photographs, interviews and personal reflections and academics' perspectives to convey the scope and history of the Tibetan story.

Jones (Like Crazy) gives Nelly's tragic plight a palpable anguish. There is no doubt that Dickens - who was mad about theater, about acting, about inhabiting other lives onstage and in the pages of his books - was in love with Nelly.

In an extraordinarily inward and moving performance, Gere sheds every vestige of his silver-screen persona.

Beautifully shot, in long, fluid takes, The Beat That My Heart Skipped is that rare thing: a remake that improves on its source.

Unstoppable fun.

Lady Vengeance is not for everyone. The violence, while less over-the-top and orgiastic than Park's two previous installments, is still hard and crackling. The sex is grim and graphic. And deadpan nihilism permeates the air.

A little like a British Eric Rohmer film -- a lot of talk, and a lot of talk about love and relationships -- Lawless Heart has wit and a winning charm.

I'll See You in My Dreams is delicate and nuanced, with writing that rejects, or at least reshapes, the cliches of movies about people facing the glare of their sunset years.

Our Little Sister zooms in close, observing everyday rituals, the commonplace that suddenly turns significant.

Feig, who wrote the Spy screenplay, encouraging his actors to improvise along the way, has his own stealth mission. For all the over-the-top comedy, zigzagging chases, and choreographed fight scenes, Spy is very much a tale of female empowerment.

Simple, sweet family fare, and a picture that extols the virtues of comradeship and community in a spunky, spirited fashion.

What's less clear, and more maddening, is how several generations of Ecuadorans have been left to live on toxic land, their health and livelihoods compromised, while lawyers file motions and counter-motions and blame is passed around.

Has two or three booming and intense action sequences that may leave the littlest audience members more quaking than charmed. But the notion of having a pet dragon - just like a pet whale, or a pet lion - is a scenario that should appeal to children of all ages.

Side Effects, chilly and noirish, and boasting a wily performance from Catherine Zeta-Jones as a therapist who worked with Emily earlier in her adulthood, is, Soderbergh says, his swan song.

The music is symphonic, the cinematography spectacular, the narration — ay, there's the rub. In Oceans, the latest Disney nature documentary, the voice-over almost manages to turn the majestic into the mundane. Almost.

A steady, soulful film experience. It's got poetry to it - the poetry of humanity.

Footage from VanDyke's travels provides the first-person narrative thrust to Point and Shoot, but Curry's interviews with VanDyke, back in his Baltimore home, are what give the film its larger, more challenging context.

Isn't as strong a film as it could have been: Only teasing slices of these people's lives are offered.

With every new installment of the comic book franchise, the scale gets bigger, relationships get trickier, new forces enter the fray.

Sly, sophisticated and surprising.

A likable, low-budget high school comedy.

It's hilarious - in a Scandinavian Sartre-esque sort of way.

Beauty in Trouble offers a meditation on the legacies of communism and the lure of capitalism, but also on the human need for love, connection and family.

It's a devilishly twisted affair.

In the end (and it's a happy end, to be sure), Catch Me if You Can is as crisp and trim as a new suit. Well, a new old suit - say, circa the 1960s.