Despite its flaws, which become more evident as time elapses, Lions for Lambs is worth seeing for no other reason that you’ve never seen anything like it before.

Ultimately, though, and despite an enormously creepy turn from Bentley (American Beauty), the story has nowhere else to go but into the standard (albeit judiciously-used) stalk-and-slash territory.

"It's difficult for people to believe our story," says one kid, succinctly, eloquently, "but if we don't tell you, you won't know."

In Moshe’s new film, Livingston throws himself with defeated gusto into the role of Patrick.

Crowe has rarely been better, and the same goes for director Scott, who parallels and then dovetails Lucas and Roberts' stories with sublime, gritty precision, working up to a magnificent "Godfather III"-style crosscutting sequence that electrifies an already explosive tale.

No nectar of the gods this, but we can still be thankful that Bee Movie is a sweet morsel that's devoid of any jokes about bee farts and poop.

For all the film’s rallying efforts, its meandering structure and absence of a central driving character results in a film about genocide that is, as unbelievable as it sounds, kind of boring.

Like an early Clash number, it's by turns lovely and ugly, loud as bombs and quiet as a revolution's first-thrown stone; it acknowledges the legend while uncovering the truth.

Only in Hollywood can a movie about alien children be boring. Even if the kid isn’t really an alien (no spoilers), there’s still opportunity galore for the wild and the weird.

Truth is, once again, stranger and far more interesting than fiction, but Stewart, whose youthful idealism makes for passionate but uneven filmmaking, should scuttle further oceanic pedantry and focus his lens on Watson's "good pirate" efforts to sabotage the "bad pirates" and save the sea.

While the evil that men do to one another in this film may well be rooted in the Cain-like enabling of original sin from one doomed brother to another, the final familial tragedy feels exactly like classic Lumet.

Bella is, indeed, a beautiful film. The bustling, cab-crowded thoroughfares of New York City have rarely looked as inviting and the coastline as momentously beachy as they do in this film.

All goes according to course, and that's exactly the problem with Dan in Real Life.

Torture, you may recall, used to be an unparsable, unpardonable sin. Now it's porn.

These days, it's dark everywhere. Which makes Slade's wild, often exhilarating neo-Western ride into frostbit vampirism something of a respite, albeit one awash gore.

It’s too bad the filmmakers didn’t have a longer view of film history, though; maybe their jokes would have been more interesting if they’d been aimed at, say, "Somebody Up There Likes Me" or "The Pride of the Yankees."

As a leading man, Casey Affleck has a nebbishy quality and a mumbly speaking voice that I personally find disruptive to a movie's flow.

Intelligent and well-meaning, Rendition is nevertheless an oversimplified and uneven attempt to arouse righteous indignation among its viewers.

Connelly, in particular, soars as the nail-biting mother trying desperately to put on a brave face and keep her family together, while Ruffalo and Phoenix, two of Hollywood’s best brooders, are excellent as wounded young fathers.

In the end this movie belongs to Del Toro. He imbues Jerry with such life, such ambiguity, such unsentimental complexity and depth that you can’t help but feel you’re watching the most intricately mapped depiction of addiction and strained humanity the film world has ever given us.

But absurdity alone won’t get the train into the depot, and no amount of quirky characters floating in their chairs or fish changing colors at random can make up for the film’s lack of real humor or meaning. Which is to say, if you’re going to make a comedy about suicide, you’d better make sure the jokes land. There are people out there who could use a laugh.

There’s something earnest and forthright about the movie, despite its misguided execution.

Despite good performances all around, particularly the ever-brilliant Blanchett, Elizabeth: The Golden Age is a gilded ornament, speculative and uninterested in much besides this queen's matters of heart.

Kind of "Hoosiers": Part 2. But the storytelling is so backassward that it’s impossible to care about any of the characters or really engage in the movie whatsoever.

It takes a village, I've heard it said. It takes a village not only to raise a child but also, in this case, to aid the delusional and help restore good mental health. Or so Lars and the Real Girl would have us believe.

It takes something really special to bring together a Nobel Prize-winning writer, a director renowned for his Shakespeare adaptations, a two-time Oscar-winning actor who also happens to be a knight of the British realm, and the reigning No. 1 British screen heartthrob and still come up with nonsense.

There’s such an overriding sense of soap opera that I kept expecting a commercial break.

Gray's signature long takes and overhead shots are in evidence and add to the film's fatalistic tone, and one rainy car-chase sequence is a real keeper. But, overall, it's impossible to shake the film's gloomy sense of eternal repetition.