By far the freakiest and most unnerving shocker in theatres this season.

Neither a true concert film nor a strict behind-the-scenes documentary, This Is It is, like Jackson himself, a real hybrid.

Possibly the best argument against couples therapy ever, Antichrist is a tour-de-force trip inside the mind of a dangerously depressed man. That man is Danish filmmaker von Trier, and he has gone on record as having conceived and executed Antichrist in the wake of a deep depression.

Most devastating to the film’s effectiveness is its inability to convey that one essential to the story of Amelia Earhart: the tangible pleasures of flying.

It's a totally serviceable reboot for young people who are just discovering the joys of manga, but I can't help but miss the raw animation and even rawer emotional aesthetics of Tezuka's original televised animé series.

It's more fun than a poke in the heart with a sharp stick.

For fans, however, Saw VI is, pardon the pun, a cut above the rest but not, sadly, by much.

Satire without teeth is sort of a mewling entity that brings little into sharp focus. Nevertheless, the performances here are all stellar, and narrative movies that take the making of art seriously are a rare breed indeed.

Less a traditional martial-artistry marathon than it is an exercise in filmic frustration, lovely to look at by small degrees, but a mud-spattered mess of a movie overall.

I don't want to oversell the thing. It is, quite simply, something very special indeed.

Law Abiding Citizen, ultimately and inappropriately, tips the scales in favor of the Man over mankind. Somebody call Charles Bronson.

Short to short, it’s a Russian roulette.

A dull, plodding remake.

An intriguing psychological study that, more or less, leaves out the psychology and presents us with surface behavior.

A distinctive story with universal appeal.

The Damned United is Shakespearean in its tragedy.

Intelligence is insulted at every turn in this new date movie.

Refn’s artful and energetic film never goes further than face value.

Hair is personal. It's also political.

Associated with the modernist architectural movement centered in Southern California during the mid-20th century, Shulman’s still photographs are essential to any study of the style’s vast popularization and commercialism.

Not even the always reliable talents of McKean and Lynch can help pull this comedy out of its ironic slump.

This up-from-the-fields slice of Tejano pride is a punchy, melodramatic piece of tried-and-true Americana that mixes cultures (and film genres) with an eye toward knocking down borders both cultural and contemporary.

The Yes Men’s bravery and unflagging sense of optimistically doomed humor – which comes across as a quixotic version of Monty Python by way of Upton Sinclair – is to be applauded and, wherever possible, acted upon.

It is rich with ideas and contemplations and packed with the sort of existential jokes that tickle the Coen boys so.

Barrymore’s casting choices are intrinsic to the success of the film. Lewis, under her rink name, Iron Maven, hasn’t had this meaty a role in maybe 15 years, while Wilson as the team’s shaggy male coach is a hoot to watch. Harden and Stern, as Bliss’ parents, create fleshed-out characters instead of lazy depictions of the paper tigers that grown-ups usually are in teens’ stories.

Zombieland is dead set against being dead serious. Its tonal pallor has more in common with a foreshortened "It's a Mad, Mad, Mad, Mad World" than with "28 Days" or "Weeks Later," and then, again, there's that jaw-dropping cameo. It'll kill ya.

If anything, The Invention of Lying is too soft for the satirical promise of its premise.

The documentary hasn’t the depth of another study of high school ball, "Hoop Dreams,"' and tends toward repetition, but, in the end, its heartfelt saga scores.