If you can ignore the implausibility -- nay, the opacity -- of the plot, the film is wonderfully cinematic, with great photography, exciting editing, fresh camera angles and some impressive CGI.

The film's lack of common sense reaches out-of-control proportions in the final minutes.

It's a sometimes-hilarious send-up of slasher movies that buries a surprising amount of sweetness under buckets of gore.

Director Marc Forster moves from one thing to the next so quickly the movie plays like a two-hour-plus trailer. Something feels like it's missing here, even at that length.

50/50 is a tremendous movie. It's also a really funny one, which doesn't mean it won't make you cry.

Igawa is almost a magical presence, projecting a calm in Ozu that is infectious.

The film is leisurely paced, as many French films are, and not much actually happens, but as a character study, it feels true, and ultimately moving.

On some level Moneyball is about loyalty: loyalty to an idea, loyalty to a partnership forged by desperation, loyalty to the values you believe in. Whether that was Lewis' intention in the book, or Beane's intention in taking the risk, doesn't matter. It's the formula Miller came up with for the film, and with the team of Pitt and Hill, it's a winning one.

Cozi Zuehlsdorff winningly plays a young girl who works at the hospital. With her big smile and natural warmth, she is a charmer. Even better is Gamble, who gives a smart and sensitive performance without relying on any of the normal mannerisms that often afflict child actors.

If you're willing to accept Killer Elite as a shoot-'em-up action movie with good actors taking the spots of the usual lunk heads (but spouting the usual nonsense), you'll be pleased with the film.

It's definitely not taking advantage of a talented supporting cast, as Greg Kinnear, Kelsey Grammer, Seth Meyers and Christina Hendricks are among those wasted.

Think of Drive as the cinematic equivalent of riding in a car that projects a fashionably stylish image. Sure, the gas mileage may be terrible and the engine unreliable, but it's such a smooth, good-looking ride that you'll put up with the annoyances.

All are good, Damon in particular, but there are so many of them we don't see anyone for very long at one stretch. And all are given at least some bad material to work with before the movie is over. For the most part, they make the best of it.

It's a surprisingly moving film. While the fight scenes are unquestionably thrilling, the movie's best bits are not about winning and losing but about pain and, ultimately, forgiveness.

Cavaye is relentless in his quest to entertain, to thrill.

Told in such predictable and bland fashion it dulls the effect. And this in a movie with Robert Duvall, Lucas Black and Melissa Leo.

It's always entertaining, and it boasts a terrific performance from Sara Forestier.

This is real edge-of-your-seat stuff, in a throwback way - no booming special effects, just old-school timing and execution.

You come away from watching the film with a moral bellyache.

Perseverance is the theme of Life, Above All, a drama that is deeply affecting, if also overwhelmingly bleak.

Bursts at the seams with wild creativity.

Kapadia does an outstanding job of getting at what Senna meant to Brazilians and to his sport. The man himself was a tougher nut to crack, but maybe that's best. A little mystery suits a good story, and Senna is definitely that.

Wants to scare you, but it can't quite seal the deal.

The rest of the cast is fine, actually, but Rudd spares nothing in making Ned a lovable loser, with the emphasis on "loser."

As cinema, Crime After Crime is nothing special. It would be perfect for a PBS "Frontline" entry. But it reminds us, once again, that little can be quite so riveting as a well-told story from a compelling talking head.

Some people will find Miranda July's film a poetic triumph, a meditation on responsibility and disappointment. Others will find it hopelessly pretentious, one of those movies only pointy-headed critics can abide. I found the film to be more of the former than the latter. Except when the cat talks.

A fantastically entertaining movie.

The idea of dropping in on characters at different points in their lives can work - see "Same Time, Next Year" for how it should be done. Here, it simply puts a distance between the audience and two characters that aren't that interesting to start with.