Paul is a close encounter with the comic brilliance of Simon Pegg and Nick Frost that makes going to the movies fun again.

It may be the most glaringly, if unintentionally, personal film that Zhang has made since 1994's "To Live."

What it provides (instead of the thematically clever dialogue of typically subtle French comedy) is biting wit, poignancy and, forsaking some structural nuisances, the summer's best bromance.

Unfortunately, the committee-designed script never finds a consistent balance between building characters, delivering action and pushing the story forward.

Much of the film is taken up with Wexler's musings about his own mortality and physical, shall we say, decomposition.

Part of Me strains so hard to make Perry seem at once triumphant but totally relatable that it veers toward a self-seriousness you won't find in her music, image or Hershey's Kiss bra.

Repression is one thing, but discontent generally breeds self-knowledge and rich interior lives, two things that are eerily absent here. Regardless, the film features some really intriguing conflicts and solid performances throughout.

Kids should especially like this magnificent and heartwarming look at the life of young Oscar.

Landau and Burstyn remain compelling throughout.

That tension between silly comedy and poignant drama could have been dicey, but Stebbings and Harrelson maintain just the right balance between the two.

The filmmakers do bang-up job expanding the frontline perspectives, aiming to subvert a ruling regime’s course and expose its cloudy human rights record.

Tsui Hark's films aren't famous for their coherence, but Flying Swords of Dragon Gate is such a wantonly incomprehensible experience that it occasionally feels like an epic piece of outsider art.

Fans of the first will not be bored. This Iron Man may not be the Godfather II of comic book movie sequels critics hope for but it is a complete blast anyway.

Boasting impressive production values, engaging storytelling and a standout lead performance by German star Ulrich Tukur, John Rabe will receive enthusiastic word of mouth from select arthouse audiences.

Formally, everything's in order-it's an attractive film with some ingenious action sequences-but the problems overwhelm the pleasures, leading to the conclusion that this film's trouble is under the hood.

Upbeat, bitter, sweet and always gripping, Shut Up! Little Man gives remix culture the ucky origin story it likely won't heed, but could sorely use nonetheless.

Part saga of days gone by, part psychological portrait of the mountaineering spirit, as well as a tale of adventure, Anthony Geffen's documentary will rivet fans of the sport and history buffs alike.

It's hard to imagine who will thrill to this violent, gorgeous, and empty film.

Control's Sam Riley steps into a role made unforgettable by a young Richard Attenborough in the 1947 original and makes it his own, slipping into the character like a second skin.

Ford is hilarious and brooding, deeply wrinkled and deeply intimidating. He's got the best lines, courtesy of screenwriter Aline Brosh McKenna (of the repellent "27 Dresses" and the much better "The Devil Wears Prada").

It has sufficient flavor to perform relatively well in markets with significant South Asian populations or amongst serious foodies who'll flock to anything remotely germane to their passion.

The laughs are proportionate to the stakes, which are middle-of-the-road.

Even given narrative license, South African-born screenwriter Ann Peacock has trouble cobbling together a truly compelling plot that deals with Kenyan history, including tribalism, in a detailed way.

The way the film handles relationships has a similarly light but lived in air to it as well.

A thing of endless contrivances. Jolie's phony plotting and graphic depictions of sexual assault and murder are transparent attempts to bluntly convey the war's atrocities.

The laughs are a little uneven and director Jeff Tremaine does not always take full advantage of the 3D technology, but the movie has enough going for it to satisfy Jackass' legions of fans and make some new ones.

The most compelling thing about it is what it captures: a snapshot of America's ongoing and endless cultural war at a moment when things begin to shift.

You'll laugh and be offended, but if you watch it and don't want to be part of the solution, you'll know which side of the line you're on. Activism takes some unique forms.