It is indeed a beautiful film, but with each horizon tinged with sadness.

What's exciting about the film is the confidence Hittman brings to it, particularly with her visual choices. The dancing in particular is striking, with surprising cuts and edits. It Felt Like Love isn't a great movie, but it is a promising one, for everyone involved.

The movie boasts a tricky structure, but director Jonathan Teplitzky ("Burning Man") does an expert job of sewing together the World War II moments with sequences set in the '80s.

Dom Hemingway is a naughty good time while it lives up to the unpredictable bawdiness of its opening line.

If nothing else, it's consistent — consistently stupid, with things like character development and story advancement never getting in the way of another parkour stunt.

Oh, all right, some of The Other Woman is funny. The parts with Leslie Mann, mostly, who makes this hit-and-miss, problematic comedy directed by Nick Cassavetes far more entertaining than it has a right to be.

It just sort of chugs along in predictable fashion, bolstered by a couple of good performances here, thrown off-track every now and then by implausible or unearned developments there, but overall a decent effort.

The cuteness, of course, is just the lure. The real payoff is the unforgettable images of nature in its astonishing abundance and awesome austerity.

Through dogged research and interviews with the (now-grown) children Maier cared for, along with their parents (including Phil Donahue), a profile emerges, and it's fascinating.

Cage is getting down and dirty again in Joe, and it's pretty remarkable — the performance more so than the film, and the film's good.

Yes, Glazer asks a lot of his audience. At times the movie feels like something you've walked in to the middle of, so you're thrown off balance. Yet it's hypnotic — you want to stick around to see what happens, and maybe just to figure out what the hell is going on.

Despite its looks, talent and pedigree, Transcendence never becomes the movie it could have been.

Although it has some serious flaws, it rises above genre fare, thanks to Greg Kinnear's intriguing performance and the work of a good cast.

[Jodorowsky's] a hoot, and so is Jodorowsky's Dune. But it's something more, too, a look at twisted genius and missed opportunities, a sad but intriguing combination.

Chen captures with both humor and heartbreaking realism the complicated mechanics of the family dynamic and how outside forces work to shape it.

Costner works hard, and it shows. That's even more true of Leary. Garner's stuck in a thankless role. Only Langella seems to be having unencumbered fun.

There's just nothing magical about the story, nothing that lifts it above its status as an agreeable song-and-dance movie, a laugh here, a laugh there, pleasant but overly busy, for seemingly no real reason other than to throw a few more set pieces at the wall to see what sticks.

Ernest & Celestine draws on plenty of classics, animated and otherwise, for inspiration, but the film manages to be delightful on its own offbeat terms.

A Romanian political allegory — in Romanian — might sound like tough sledding, but thanks to a searing performance by Luminita Gheorghiu, Child's Pose is anything but.

This is a good movie, but it lacks the visual wonder of the first, along with the sense of play at which von Trier, even at his most controversial, is so good.

Count Captain America: The Winter Soldier as another success in the Marvel line. Thanks to the chemistry between Evans and Johansson and a willingness to shake things up, it's more than just a placeholder between "Avenger" films.

Director Roger Michell ("Notting Hill") has the good sense to step back and let Broadbent and Duncan work their magic on Hanif Kureishi's script. They don't disappoint.

In Bethlehem Adler tries to make some sense of that world, and to the extent that it's possible, succeeds.

It's not an easy ride, but it is ultimately a satisfying one.

Director David Ayer is using the blood and guts to make a point about the insane violence committed by drug cartels, yes, but the bloodshed is unrelenting and, ultimately, exhausting.

Taken strictly as a piece of filmmaking, Aranofsky's Noah is ambitious. And as theology, well, it may not hew exactly to the letter of the law, but the spirit survives intact.

It never quite takes off in a stirring, inspirational way, but moves steadily forward in solid fashion.

It's a maudlin, superficial exercise in obsession masquerading as a heartfelt romance and study of grief, and character development is sorely lacking. Although well-acted, particularly by Annette Bening, the story feels contrived.