Dafoe, as expected, is magnificent in the taciturn role, but the film tends to falter when he's not out stalking, combining as it does elements of family drama, environmental outrage, and outright suspense.

Like his previous feature, "Eagle vs Shark," Taika Waititi's Boy tells a mere wisp of a story, yet both films are filled with compelling characters, situational color, knowing observations about youthful behavior, and quirky bits of oddball and fantastical humor.

True love is never having to say goodbye … because when you look in the mirror, there s/he is.

Of course, if you loathed the first film, this one probably won't do much to change your mind. But fans, and I count myself among them, of the Weitz brothers' unexpectedly enjoyable original will find themselves in a familiar and perhaps comforting place … filthy language, risqué situations, die-hard friendships, and all.

I've always said, "If you've seen one god, you've seen them all," and Wrath of the Titans only serves to underscore my point.

The Raid: Redemption definitely delivers everything that international action fans want. The question I have is whether the laws of supply and demand are adequate tools for evaluating a movie's worth.

After a sparky first half greatly aided by Kristin Scott Thomas' devilish turn as an unsentimental press secretary, Salmon Fishing grows soggier. It's such a pretty, witty gloss of a picture, it hardly knows what to do with real-world terror, hence the Snidely Whiplash-like limning of Muslim extremists.

Unique to a fault, Sound of Noise is a daft police procedural, an absurdist comedy, a piece of metaphysical agitprop, a music-performance film with a bit of story attached, and/or none of the above.

This artful documentary about renowned Tokyo sushi master Jiro Ono is not going to help save Charlie the Tuna one iota.

On the whole, the film feels detached and morose, just like its characters.

The Hunger Games is first and foremost an adventure/survival story, and director Ross keeps things moving with nary a moment of downtime. There's precious little fat on the script; it's a lean, mean antifascist machine, and Lawrence is at once winsome and spectacularly engaging as Katniss (so much so that all her male costars pale into near-blandness in comparison).

Not that anyone was asking for a reboot of the series that is perhaps best remembered as the launching pad for Johnny Depp's career, but here it comes anyway. The film will probably gain several points on the likability scale for its sheer unexpectedness and modest ambitions.

The Duplass brothers have an exceptional eye for microexpressions (yes, they're still zoom-happy), and there's something to be admired in this new interest in a macro lens on the universe's workings. If only it didn't take wading through so much drear to get to that divine.

Based on actual events, this claustrophobic epic is as emotional as they come: a Holocaust story shot through with a layer of darkness both literal and figurative

Quite likely the most original dance film you'll see this year, The FP is awash in silliness that probably took ages to script, but the film's goofy heart and soul (yes, it has one) is what sticks with you in the end and makes this crazed film into a potential cult-movie masterpiece.

Teetering between folly and genius, this Will Ferrell comedy masquerading as a Mexican soap opera-cum-horse opera unfortunately levels off somewhere near the undistinguished center.

If A Thousand Words' formula seems familiar, that's because writer Steve Koren has tripped down this quasi-metaphysical path before in "Bruce Almighty" and "Click."

Its most remarkable featis sustaining the level of forebodeingly atmospheric suspense.

Old-school "Gosh, wow!" sense-of-wonder filmmaking is in short supply in these anxious days, and John Carter (of Mars!) left me with my disbelief in suspended animation and once or twice with goosebumps dotting my arms. And that's enough for me.

Little more than a well-written and nicely delivered feature-length sitcom.

Viewers approaching Tim and Eric's comedy for the first time will probably be baffled by their popularity and success. Their Billion Dollar Movie will not win new converts, and their stretched-out routines demonstrate the old saw about less sometimes being more.

Good performances give this movie a pleasant shine, but in all honesty, Thin Ice relies on too many familiar setups to feel wholly fresh.

Tonally one of the strangest films of the year thus far, Project X is at heart a John Hughes-esque celebration of that fleeting teenage moment prior to actual adulthood when throwing a badass backyard party could instantaneously elevate your social status, and cement bonds of friendship that would last a lifetime, and get you laid all in one go.

Viewers will find themselves well into this intriguing movie before they get a sense of what it's about and where it's going. And even then, they'll never correctly predict the film's outcome or foretell its bizarre ending.

Although the movie's ecological message is dominant, it's not heavy-handed. Rather, the ecological warnings are tossed out with the same joie de vivre the Once-ler displays when tossing marshmallows to the bears.

At 134 minutes, Crazy Horse could have used some judicious editing, but that relatively minor quibble aside, it provides a revealing and intimate look (as if there could be any other kind) at an institution both familiar and utterly alien.

The very best animation can excite the senses and inflame the imagination. But Chico & Rito's charmless line drawings just made me wish the film was live-action instead.

Immensely entertaining, Coriolanus is chock-full o' gore and the contemporary trappings of a man and a land divided, both from without and from within.