Fans of the considerably more pedestrian "Julie & Julia" will likely have to attach drool buckets to their chins in order to avoid hours of tedious mopping up, so lusciously bizarre are the comestibles on display here.

In an era where so many horror films are anchored in the aesthetics of Eighties American cinema, Sputnik establishes itself as an especially polished work of retro-futurism.

Frenetic as Babylon is, Chazelle himself remains clear-eyed. His view of Hollywood is romantic but not romanticized, a flaws-and-all look back at a party that was bound to end and be completely incapable of handling the crash. But oh, what a swell party it is.

And while the blond, youthful, and entirely sane-seeming Lomborg was initially pilloried for his calm, rational views by the global environmental movement, his ideas and solutions arrive as a refreshing tonic in the face of global warming's more vocal fearmongers.

There may be nothing new under the sun, but you can bet your life there's absolutely nothing new about Rush Hour at all.

Oculus never quite resolves into the image of horror it clearly wishes to be. Kudos, though, to cinematographer Michael Fimognari and score composers, the Newton Brothers – all of whom provide a fertile audiovisual background for Flanagan’s film.

It’s Robinson’s tender portrayal of Joe that sticks in your mind. He and Tye Sheridan from "Mud" are the summer’s real finds: young actors with promising futures.

This movie belongs to Posey, and her nuanced performance makes Broken English a worthy adventure.

It is violent, certainly, but it's also a genuinely excellent film, horrifying and touching and beautiful in a bloody sort of way. A bit like real life, really.

Joyous ode to laughter as a way of life.

You can easily lose five minutes making sense of it - and another 10 poking holes in it - but what of it? The preceding 100 minutes pass so pleasurably, the few false moves barely register - maybe the biggest con of all, but consider me happily snowed.

The metaphoric title about the danger in beautiful things sounds like something from Byron or Keats, but this compressed film adaptation of an Oprah-endorsed bestseller plays like the Dickens.

Maybe someday there will be a better commercial comedy about a girl taking charge of her sexual education, but for now, this is the only one we’ve got, and it’s a filthy-fun charmer.

My be a gearhead's delight, but its appeal to middle-of-the-roaders will be stop-and-go.

Director Rose seems not to know what to show next, and whether this is in an effort to keep his audience guessing or not, it only ends up making what could have been an exceptionally disturbing film exceptionally annoying.

Hero dips into the world of Capra's Meet John Doe, and comes up with an even more repellant visage of the Media/Citizenry connection than that film.

Mickey Rourke's narration provides an appropriate level of drama and importance as it details the men's training, adversities, failures, and triumphs.

Alas, the younger actors in the Sixties stretch are no match for the senior set, weightless and blank next to the gravitas of Broadbent, Walter, and Charlotte Rampling.

Though occasionally emotional, this ain’t no heart-tugging rehash of Lassie Come Home. And there’s something to be said for that.

Each member of the well-chosen cast not only creates a distinct character with unique and memorable resonances but also meshes these separate personalities to form as satisfying an example of ensemble acting as we are likely to see for quite some time to come.

Léger and Robichaud’s update is mostly successful in filtering the intent of the original for modern sensibilities, not least in the plentiful sex scenes.

A white-trash riff on Little Red Riding Hood, the oddly titled Freeway is a road movie that hits a dead end.

Spoiler Alert is at its best when it's not afraid to be mawkish, sentimental, soppy, honest, and downright charming.

Amy Heckerling’s portrait of high school/shopping mall life in Southern California is still just about as good as it gets...The panoply of teen types and turmoils is dead-on accurate.

Occasionally, the unevenness of the performances in Star Maps becomes distracting and the dastardliness of the characters' dysfunction impinges the bounds of dramatic believability, yet you will be hard-pressed to find another directorial debut this year that equals the narrative and structural audacity of Star Maps.

To make an intelligent heist film is difficult work; to shoot an entertaining sociological study is near impossible. To manage both at the same time has got to be some kind of minor miracle.

It's a love story, though, and all the more poignant for being one that actually survived under such tempestuous circumstances.

Retelling of White's classic children's book is a spun-sugar treacle-bomb, though a darn good-looking one.