King Car has moxie and its heart is in the right place, even if it feels like dialectic materialism for motorheads.

So much here is equally befuddling and beguiling; I caught myself leaning in toward the screen repeatedly, trying to somehow get closer to the gorgeous impenetrability of the story, of the boy.

Bogdanovich narrates the most extraordinary moments of close-up slapstick and derring-do with equal fascination. But mostly what he does is let them play out with the occasional factoid, so the audience can appreciate just how impeccable Keaton's work was.

With remarkable access, Klayman is prepared to let Bannon hang himself with his own words.

As with most superhero movies, Shazam! is also as much a harbinger of sequels to come as it is a stand-alone film. This, surprisingly, is where Sandberg’s film shows the most promise.

Dench deserves better, and unfortunately it will probably be a long time before she gets another starring role in a movie custom-made for an actress her age.

While grown-ups are sure, at the very least, to respect Into the West's beauty and integrity, it may be a tougher sell amongst the very young where the Irish brogues and the lack of rugged Hollywood heroes and high-tech derring-do may prove impediments. But the aura of magic realism has never felt more tantalizing as it shimmers Into the West.

Such an important and tender subject as assisted suicide deserves more than this mawkish, soapish nonsense.

Light Sleeper represents Schrader at his best, giving us a character we've become familiar with over the years and Schrader's intimate mastery of our fascination with decadence, loss and redemption.

The sidekicks Jean-Bob, the dandy French frog (Cleese), and Speedy, the true-blue turtle (Wright), are mildly amusing, but knowing the talent behind the voices, you can't help but wish that they'd had a hand in the writing as well. Still, the picture has a certain sweetness about it that melds nicely with its old-fashioned look (the cels are all hand-drawn and hand-colored) and the characters are not totally without charm. What it boils down to is that The Swan Princess just doesn't have that old bibbity bobbity boo.

Veteran Italian director and co-screenwriter Crialese (Respiro, Golden Door) embraces a vivid visual sense here, abetted by Gergeley Pohárnok’s sumptuous cinematography and the Me Decade fashion sense of Massimo Cantini Parrini’s breezy, eye-popping couture. It’s a look that idealizes memory, much like when you conjure up something from the past in your mind and try to make it stick there for a while.

The film rarely demonstrates how the ideal actually works in practice. Personally, I would have liked to see a savage breast or two being charmed.

Under the muck and mire, Vesper is a reminder that both life and hope can be surprisingly durable, flexible, and morphable.

It’s amazing what Yossi & Jagger does manage to relay in its brief time onscreen. And instead of melodrama and fireworks, the film goes the more difficult route of restraint and psychological tension.

It's a veritable shoo-in for an Oscar nod this year, and one of the more disturbing films to come out of a major studio in ages.

Dern is hilarious as the obsessive sister-in-law, Sarsgaard plays oddball dog-man to perfection, Pais is perfectly awkward as Peggy's nervous boss, Reilly rocks the subtle humor of Peggy's hunting-obsessed neighbor, and Shannon gives a breakout performance.

At times it feels almost too busy with plotting. There's so much going on, and so much to take in, that it leaves you winded. But that's origin stories for you. No one ever said setting up a savior would be simple.

An informative and nonpolemic look at the birth of the modern environmental movement and its various offshoots and key players.

It's the kind of film you feel like watching twice -- not because you found it that engaging to begin with, but because you didn't, and everyone else did.

Bill Murray's Polonius is so delightfully coy and self-satisfied that this performance is reason alone to see the picture.

A stunningly impassioned and articulate study of a writer's life and the censorial demons that can strangle that voice.

A film that wants you to get happy.

It's not a pretty picture, but it is a hellaciously gorgeous and original film.

Cuartas tenderly catches the scenario at the end of the road, leaving only the question of who, if any, will be able to walk away. Not that their existence is tenable for anyone that crosses their paths, and Cuartas' script gives plenty of space for the core trio to explore their tragic roles in this disaster.

Theater Camp may not qualify as a 24-carat enterprise, but when it occasionally shines, it glimmers with a love for the transformative magic of the stage.

These people manage to convince us that the events at Abu Ghraib were standard operating procedure and not aberrant activities. Therein lies the horror of the movie – and also its banality.

Not in itself a bad thing -- the "Star Trek" films have long come under friendly fire for being too heavy on the philosophizing and not enough so on the deep-space car chases -- but oddly, the film feels soulless and hollow, despite best intentions to the contrary.

And like most women in bromance comedies, Jones does exactly what she's supposed to do by doing almost nothing.