Bong's stylistic embellishment of the simple tale of a mother who will do anything to protect her son is breathtaking.

A coming of age story in which the children better the world for the adults, Kore-Eda's heart is in the right place.

Luke Wilson's terrific performance renders an uneasy hybrid of crime drama, comedy and ecommerce far more compelling than it otherwise would be.

Akin to a stroll through a gallery, L'amour Fou is meditative and magically eye-opening.

Along the way Göran and Sven suffer the standard indignities of a Gay couple in an idyllic Swedish neighborhood. Which, as it turns out, are all the same indignities a Gay couple suffers living in an idyllic American neighborhood.

Moving and more ambitious than a CW serial drama or the long-ago ABC After School Specials because its honesty outweighs its occasionally trite dialogue and sometimes false scenes.

An entertaining fright movie that’s crazy fun and full of genuine scares.

The accessible story and fast-paced action scenes could draw a good arthouse audience, more than usual for a Romanian film.

Boote's strong film will make you look at the floating plastic bag from American Beauty in a new, wholly suspicious way.

The script is intermittently literate and frequently funny, the young cast (headed by Radnor) is highly appealing.

The resulting distillation is brisk, light and engaging with none of the cheap shots that usually accompany any discussion of ventriloquism. If anything, Goffman is too gentle, refusing to pursue his charges into their darker corners.

The premise is fetching and feels like a mystery, particularly as the film orchestrates its story to make the work of the Alps group seem like a kind of heist.

Contrary to all of my bitter nudging, I found both sweet and charming. It's just me: I hate precocious children.

Michael Fassbender (Fishtank, Inglourious Basterds) is reliably great, severely outclassing costar Knightley's grating performance.

Even better than the first edition, in its own sitcom-ish ways.

Forty-four years after his exciting debut feature "Fists in the Pocket," Italian filmmaker Marco Bellocchio continues his late-career renaissance with the passionate, beautifully crafted, period melodrama Vincere.

The central notion in After the Cup is not the obvious; we can all live and work together to our greater achievement no matter where we are from or who we are. Rather, the question here is-will we-even when we lose the football game? It's a much smarter and more interesting question.

Holy Rollers is mostly a marker being put down by some talents to watch, especially Eisenberg, who is greater than fans of "Zombieland" could have imagined.

It's difficult to imagine a more fascinating case of sociopathic, obsessive-compulsive behavior, or a more disciplined, engrossing study of it. And yet a vital ingredient is missing.

In sum, the film is not without its sweetness. Carell's Barry retells the story of his life in dioramas populated completely with costumed, stuffed mice.

The movie version has the exciting and challenging parts down but the moral awakening it so strenuously wants us to experience remains beyond its reach.

Yet another movie marketed with the line “From the author of The Notebook,” The Last Song is distinguished from other Nicholas Sparks adaptations because it’s the first screenplay the best-selling novelist has written himself.

While "Role Models" mined riches even in the well-plowed comedic soil of cretins befriending kids, Wanderlust's equally musty city-vs-country culture clash plot finds only flecks of hilarity in mostly bland-to-bold mediocrity.

In any case, The Girl Who Played with Fire works well as a stand-alone feature, though it's more fun if you've seen the first film.

Best enjoyed as a rousing period piece.

Odd but endearing, The Good Heart has just exactly that--a good heart--mixed with a simplistic story that comes recommended as a showcase for two fine actors at the top of their game.

The first half-hour is as evocative as (and more specific than) Claire Denis' "White Material," a similarly broad treatment of post-colonial chaos. The rest, sadly, falls apart, but Haroun's formal skill confirms his continual promise.

By poking fun at the cliches, director Gluck thinks he can turn an inevitability into an in-joke. Eh, it'll do.