Director David Mackenzie's quietly accomplished film straddles the arthouse world and cult movies with a unique poetic vision.

Hobo is trash cinema through and through and gives fans everything they want from a drive-in throwback. That's something that doesn't happen often.

The movie never strikes a balance between its comic and dramatic halves and that dooms it. It is an almost good film that flounders, because there is no treatment for tone deafness.

This handsome period piece should develop a strong afterlife on DVD and in schools.

This foreign view of the subject is anthropologically useful, however the film's photo animation technique transforms family photos (used extensively to fill in historical plot holes) into something that resembles zombie-resurrection.

Not to be overlooked are the film's wealth of fine supporting performances and technical contributions-the always wonderful Emily Mortimer, Martin Ruhe's extraordinary cinematography and Kave Quinn's incisive production design each playing a part in what must be considered one of the very best films of the first half of 2010.

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

Borte supports his jewel of a story idea with dead-on casting, stunning images and product placement that's intentionally heavy-handed.

The melodrama is tiresome, overwrought and clichéd.

Viewers will find its emotional arc obvious and familiar, although the summoning of those emotions is where the movie derives its power.

An historical drama so swamped by its soap opera crescendos, no resonant story can survive the wet.

Sure it's fun - and painful - but it's not thin.

Puncture is rarely more convincing than the usual legal saga.

Scott excels in maintaining a low, persistent hum of eroticism whose purpose is not titillation or camp.

The shadow of Whitney Houston's stardom and crushing recent death hang heavy over this midrange movie that promises its female audience at least three good cries during its somewhat overlong run time.

Andresevic includes photogenic clips of the vibrant and diverse areas of New York City, giving a strong sense of the settings of the different love stories spread around the city.

Fox is smart to keep turning this stuff out before star Gordon grows too old for the role. He's terrific in a Leave it to Beaver way, perfectly capturing the angst of being in-betweener.

The film proves a gripping, if uneven, cinematic journey.

A highly entertaining and richly human movie experience with a gem of a performance from Jenna Fischer.

Sullivan's easygoing performance as a Brooklyn musician dumped by his girlfriend prior to a planned Jamaican cruise together syncs perfectly with writers/directors Ben Chace and Sam Fleischner's dreamlike storytelling.

With a premise better suited to comedy than drama, The Freebie is more somber and less stimulating than expected.

While well known to many Down-Under fans, Bran Nue Dae has too much comic kitsch for U.S. specialty film audiences.

This is a quirky, imaginative and outrageously funny little movie that will speak to more of us than any of us would like to admit - even if we aren't sporks, persay.

Serves as both a sequel and a prequel, and the team Oren Peli has assembled deserves credit for beefing up and rounding out his original narrative without letting it mutate into something unrecognizable.

Documents the development of a crime lord from his beginnings in petty childhood activities. Fresh details enliven a conventional story arc. This absorbing view of urban decay has the potential to draw audiences beyond the arthouse.

Sinister is pretty much everything to hate about modern horror in one mixed bag, a ramshackle teardown of jump-scares and creaky tricks, saw-it-coming "surprises" and the lead-footed thud of inevitability as it tediously places one clumsy foot in front of the other, plodding towards a finale that comes far too late.

Tim Burton, plus Alice, plus 3D equals an unforgettable, one-of-a-kind movie experience. It will clean up.

The Big Year turns out to be one of the smartest and funniest films this year.