In The Edge of Heaven, a more tempered Akin seems content to allow the incidental lives of incidental people merging incidentally to pass quietly and at their own paces. Which indicates a much-needed maturation of the "Babel/Crash" formula but also fails to rattle your bones the way those movies did. Pick your poison, I suppose.

Never Look Away seems as self-satisfied with itself as its fictional artists are with the works they produce. Pardon my disgruntlement, but after three hours, my tendency is to desire a more resounding ending and something less solipsistic.

Director Maggie Betts never lets herself be saddled by historical events in crafting a narrative filled with empathy, humor and life.

As for that central question: Yep, it’s art, all right. One only wishes they’d gotten down to the business of it sooner.

The Runaways nails both the glammy, SoCal temper of the mid-Seventies and the metallurgic tempering of the first all-girl rock band in America.

When it works, Shall We Dance? has a way of sweeping you off your feet.

The film's rhythm is jerky, bouncing all around the place and making some of the setups feel unnecessary.

Has very little soul to speak of, but it's got swagger to burn.

More a meditation on the nature of life itself than anything else, and a welcome respite from Robin Williams, the emotion sponge.

The very concept of such an assassination isn't so absurd as to be wacky – at least not since somebody fired a rocket at UN Secretary-General Ban Ki-moon last Thursday.

The Insult shows how personal resolutions may be the only recourse and pathway to personal peace.

Unfortunately, The Royal Hotel ultimately lacks the subtle ambiguity about complicity and power that made The Assistant so fascinating. Instead, it's a feel-good ending that borders on trite, and even oddly carries a whiff of cultural imperialism.

Hughes creates a white-knuckle scene from a mayoral debate about zoning policy. You could've heard a Skittle drop in the packed house screening I attended. That, and Broken City's terrifyingly realistic car chase – another throwback to vintage Hughes – are alone worth the price of admission.

Sick, twisted, and very funny, Parker and Stone have arrived. Again.

There is enough of a sense of awe here, and enough scale, that it brightens up the big screen as it stares into the ebony black of space. And if one child is instilled with a sense of cosmic wonder and channels that into a career probing the mysteries and poetry of the night sky, then Elio will have truly reached the stars.

It's got practically everything you could stuff in front of a camera, with the possible exception of Rip Taylor throwing confetti. Dancing transvestites? Check. Elephants? Check.

Somewhere in that chirpy half-pint frame dwell some meaty comic chops. Goldie Hawn may have found her successor.

So what if it's a story we've seen already this year? It's still a blast, and with added Savage it manages to be a good-hearted cash-in that retains the original's mix of emotion and acerbic humor while providing a hilarious commentary on the film itself.

When the movie shifts from psychological to physical terror, the film (like Sawyer) unravels and finally loses its bearings.

A smart albeit uneven jab at everything from the clubbing life to the male inclination toward Peter Pan.

It is an utterly unique and highly ambitious project that isn't afraid to veer wildly from witty, risqué comedy to heavy emotional melodrama, often in the same sequence.

Is this latest outing as bold or bracing or funny as the original film? Certainly not. We’re well settled into our seats now, but there’s some comfort in how the cushion already knows a body’s grooves.

The Long Night may not be revolutionary, it's definitely got its own dark magic.

While 28 Weeks Later ultimately falls shy of classic status (it's no Panic in Year Zero!), there are several hard-to-shake scenes -- nightmare visions, really -- that reveal the infected populace to be far less dangerous to the fabric of a civilized society than, perhaps, the very notion of civilization itself.

Chaos Walking is, as with any pop confection, catchy and has a solid beat, it’s just a shame that this tune is all too familiar.

Despite his acknowledged age, creaking bones, and reduced nerve, Schwarzenegger still delivers quite a performance in this fun, straight-ahead action film.

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.

Hanks is perfect in the central role, drawing on both his dramatic and comic acting skills.