It isn't a problem that 2 Days in New York is implausibly stuffed with incident for a movie that transpires over the course of just 48 hours, the trouble lies in how much time it still manages to waste.

Troll Hunter may be a relatively low-budget fantasy but the film looks epic in all the right sequences.

The bright spot-and what saves Greenspan's debut feature from being nothing more than a long tedious draft of an ordinary craft brew-is James Liston's cinematography.

Inspiring, real and heartwarming, Big Miracle is something of a miracle itself - a family film everyone in the family can love that doesn't talk down to its audience and makes more salient political points than "Free Willy" or "Dolphin Tale."

A fascinating, deeply felt film of wild, untamed emotions and probing insights.

Best Worst Movie is a must-see for students of film criticism and the philosophy of art.

A stirring, unforgettable motion picture experience, a superbly acted and courageous story of one woman who made a difference.

The absorbingly bittersweet result ranks as one of the best non-fiction films of the year.

It's a movie about a life, and life can be kinda funny and kinda poignant, even when it's full of ordinary things, like age, sickness and loss.

For all the innovative dishes we watch being concocted, the movie needs another ingredient or two for flavor enhancement and full satisfaction.

Cool It resonates, and gives one pause not just to consider the merits of the global warming question, but to consider the merits of all that we've decided to do about it, impending doom notwithstanding.

With his cinema-verité treatment of baby-daddy drama in Prince of Broadway, Baker proves himself a worthy heir to the Italian neorealists of the '40s and '50s-capturing capably the desperation, and potential defeat, inherent in poverty.

Leigh certainly has a sense of cinematic style and Emily Browning possesses a fragile beauty that hides a remarkably resilient interior. It's a pity, however, that Jane Campion did not exert a more powerful sway on the result.

It's a trenchant modern western and fans of the genre should embrace it for more reasons than just the presence of the epic Sam Shepard who, by the way, owns this Butch Cassidy.

Has enough laughs, enough good will and enough squirrely strangeness to make you hope that we get to hold on for one more film.

Particularly impressive is veteran cinematographer Dean Semler's inventive cinematography that manages to put the audience right in the middle of the races like never before.

With a sure-to-be-talked about performance by Sean Penn and the dueling themes of overcoming depression and revenge against Nazi atrocities, This Must Be The Place is anywhere BUT the place for moviegoers who aren't in the mood for something different.

Wacky and good-humored, Go Go has a seductive visual appeal that Ferrara exploits to the fullest.

Shooting in Calais give Welcome a realistic atmosphere with vivid details.

Relatively light-hearted for a Polanski film (no one dies), Carnage is fun verbal warfare cleanly filmed.

OKA!, like the mysterious horn the characters hunt, is a real find.

The Bourne Legacy doesn't reach the heights of the previous three films, but a guns-blazing final act and strong performances from its entire cast might give it the juice to try for a fifth sequel.

Jaden Smith is destined to be a star by the force of will (and wallets) of parents Will and Jada Smith, both producers on The Karate Kid. But he's also got the raw material.

There are no surprises in this tale, filmed with deliberately deglamorized handheld camera (yet inexplicably in widescreen); it puts the "adult" in "adultery drama," if by "adult" you mean joyless bores.

Good Neighbors' greatest strength is that even when the plot becomes too obvious and the thriller aspects fall apart, it can always wrestle a laugh out of you.

Fans will presumably get what they came for; what anyone else gets out of it is hard to say.

What Foy and his team discover is unbelievable. More importantly, their adventures will prove popular with street art buffs as well as documentary fans.

This is Rudd's movie and he once more displays an unerring eye for comedy. He comes at it from an actor's perspective rather than a comedian's and it shows as his character as hilarious as he is credible.