With beauty and talent to spare, Portman is something to behold: It's as if Elizabeth Taylor and Jodie Foster were somehow genetically melded at an early age. She's definitely a beautiful girl to watch for.

Renaissance man extraordinaire Michelangelo Buonarroti is frequently accused of greed in the incohesive historical drama Sin, but the only real transgression is his pride, whether it’s nurturing his own divine genius or badmouthing the mediocrity of contemporaries like Leonardo and Raphael.

It's all vastly superior to Brett Ratner's scorched-earth "X-Men: The Last Stand," of course.

Streisand's been in front of cameras so long she's thinks of them as mirrors. Luckily she has a good eye and it, more often than not, has the ability to look straight to the soul.

Keeping with the spirit of its lead characters, Oscar and Lucinda is a movie best met with a gambler's faith: You may not be certain what it means in the end, but its magnificent payoff is nevertheless a sure thing.

Peppered with clever, self-referential one-liners that whip by almost too fast to catch them, Deathgasm is – like most metalheads/punks/Morrissey fans – a helluva lot smarter than one might at first suspect.

Rarely do I comment on characters’ hairstyles in movies, but the decision to give Waterston a hybrid bowl-cut/Prince Valiant bob is one of the most ill-advised things this film does. And in a film that treats its audience like morons, that is saying something.

Nemes’ subjective camera and long takes ironically make the film seem longer and lacking in any narrative substance that equals the filmmaker’s fastidious technical skills. Sunset hopefully gives rise to a new dawn for Nemes.

Still, even at its most rote, Critical Thinking captures the appeal of chess without defaulting to a white perspective of these students.

While admirably eschewing any "God’s Little Acre"-like sensationalism, the movie has little compelling dramatic energy. While the near-absence of emotional commotion doesn’t hobble Bull, there’s no question it keeps it tied down.

It’s not like Monsters University is a bad movie. It’s just not a terribly interesting one.

Mandel and producer Sherry Lansing have obviously put their whole into the creation of what ought to have been a riveting and powerful film. Instead, School Ties ends up about as memorable as a plate of gefilte fish.

Fake beer brands, star cars, crotch shots – a boy’s life unfolded, according to co-writer Uhelszki. Red Hot Chili Smith opines Mad magazine meets Esquire, and Uhelszki echoes equally extinct forces: “Everybody was politically incorrect. No one watched their words. That’s what made Creem so good ... If you put it through that politically incorrect filter, you would have lost 60% of what made Creem great.”

Loaded with sass, sex, and sadistic violence, Deadpool is not your youngster’s comic-book origin story. Deadpool earns every bit of its R rating, a quality that’s sure to appeal to fans weary of the macho, apple-pie-eating, altruistic superheroes who buck for attention in the comic-book stables.

Like Michael Moore and Morgan Spurlock (Super Size Me) before him, Scurlock sets his sights on vast money-motivated conspiracies and doesn't rest until he finds them.

Sweet, silly, with that profoundly bizarre world view that makes a snail trail gag open to everyone for a laugh, this may not change SpongeBob forever, but it's more SpongeBob as we love him, and that's all the fun you can need.

Gaunt, reserved, unexpectedly thrust into the spotlight having risked life and limb to avert nuclear war, he's a figure from a bygone time, a bygone culture, and that's what Dominic Cooke captures so perfectly.

With neither the grandiosity of pagan vision that illuminated The Green Knight, or the subversive forest horror of Ben Wheatley's In the Earth, Garland's Men is never quite a joke, but maybe that would have made it a more pointed parable.

A countrified, monolithic thing of beauty -- gorgeous to behold despite the fact that its overlong two-hour-and-45-minute running time plays off Redford's weather-beaten golden boy good looks far too often for its own good.

The movie’s constant meta-comedy recognition of the endearing yet aggravating earworm quality of the first film’s “Everything Is Awesome” theme song may be its most effectual in-joke.

The film is delicious, welcome, and entirely satisfying and, as an added bonus, far and away the best genre-fan date movie of the year.

The Matador is anything but predictable, and therein lies its sublime and fascinating charm.

However much this film strays from documented facts about Maud Lewis’ life, it still does a laudable job of presenting much of her life’s austere flavor.

For all its dry wit, The Good Boss is ultimately a portrait of a megalomaniac. Showcasing the dramatic lengths he’s willing to go to in order to maintain control (what he sees as equilibrium) in his little kingdom, it leaves a sour taste.

Searingly potent and suggestively supple, Carax's images are rich with emotion and ideas.

Feels like a Fincher film: It possesses the same smarts, the same visual panache, the same violence. But not the same heart.

It's chilling and tragic in equal measures.