Hoge's film raises more questions than it answers – that's his point, I think, to get us thinking – and Gosling, who previously played the conflicted Jewish Nazi skinhead in "The Believer," inhabits the role of Leland so fully it's as if the character had killed him as well.

As we are informed in the film’s prologue, "Cats live in loneliness, then die like falling rain." Sh--, man, whatever. This is so stupid it’s positively genius.

Henderson's warm and toasty little gem of a film, slight though it may be, reminds you that the Greatest Generation, full of vim, vigor, and – most important – an indefatigable sense of purpose, grew up on both sides of the Big Pond.

"Always be good to rock and roll and it will always be good to you," the film quotes Phil Spector as saying, and a more fitting explanation of the Bingenheimer mystique you'll likely never find.

If Never Die Alone had even a smidgeon of comic relief (or even, say, a bunch of zombies) to offset some of its relentlessly downbeat brutality, it might have been at best tolerable. But it doesn't, and it's not.

This is not a family movie; the kids will be bored by it. This is a guilty pleasure for thirtysomething stoners with ironic dispositions and large nacho platters.

The Coen brothers’ newest is an odd amalgam of tics and stutters that plays like something of a greatest-hits reel but never seems to jell into a real comedy.

If Affleck stumbles, Smith's script does nothing to catch his fall. Surprisingly, Smith's truest talent – that of writing – is Jersey Girl's weakest link.

Von Trier’s vision is amazingly thorough and exquisitely executed, but the audience may feel executed as well.

Suffers from Frey’s diluted multitasking. The director, writer, and star are not equally talented.

This portrait of 1940 France on the verge of capitulating to the Vichy regime is intriguing. However, what keeps the movie engaging is its nutty tone.

A twist ending in search of its movie.

In manipulating its many disparate characters to bump into each other and set plot lines in motion, Intermission walks a fine line between clever and contrived, with the scale tipping more often toward contrived.

Snyder’s film isn't likely to be considered a classic 20 years down the road like Romero's film is, but it's a winningly extreme episode in the ongoing adventures of Zombie and Harriet. (And stick around while the end credits roll: The film isn't over 'til it's over.)

A delightful little wormhole that takes us on a journey to another dimension of consciousness.

Lemarquis, as Noi, has a stoic and silent tenderness to him, and Hansdottir's Iris is the picture of pensive sluggishness. But then all that cold, cold snow slows you down, both inside and out, until the only thing moving is your heart.

A political thriller with topical currency, Spartan delivers the goods.

It's not until the film is over that we fully appreciate the originality of an Israeli film that focuses completely on the family crisis while leaving politics behind altogether.

The film itself is an effective enough metaphor for out-of-control bullshit that frankly, Koepp aside, was part and parcel of King’s novella from page 1.

Everything about Agent Cody Banks 2 reeks of hurry-up and make this movie before its kid star Frankie Munoz loses his pubescent looks (it’s already borderline).

The film moves so subtly, in fact, and so seamlessly between wry humor and the emotional wreckage of life-or-death, that it was with some shock that I found myself weeping halfway through the film.

About the only thing that makes any sense in La Vie Promise is Huppert's face, a visage that has aged in the most extraordinary way.

Ultimately, Hidalgo won't win any movie races, but I'd definitely bet on the movie to show.

The highlight of this satirical remake of ABC's mid-Seventies buddy-cop anomaly is named, unsurprisingly, Will Ferrell.

McGuigan's wonderfully ambitious but terribly melodramatic film is chock-full of symbolic references, subtext, and the sort of period detail that made Monty Python's historical comedies so gamely endearing.

It's interesting to see this more quotidian aspect of Israel displayed on film, but the parable of James' Journey to Jerusalem has the sophistication of a Sunday School lesson.

It is really gory, for the record -– though it's too silly and insufficiently twisted to slake the appetite of the hardcore gorehound, it's not something to take a kid to.

It bears noting that Greendale is an awful lot like the town of Mayberry R.F.D. in that paragon of homespun virtue, "The Andy Griffith Show," but then again, it's probably equally wise to bear in mind that before Griffith was the sheriff of that hamlet, he was in "A Face in the Crowd" playing a character who, with his conniving, manipulative, black-at-heart ways, might well represent Greendale's dark and awful future.