It seems odd to call a detailed portrait of toxic romance lovely, but Keep the Lights On truly is.

Like "Anvil," this is a crowd-pleasing triumph of the spirit, framed around a story so bizarre it sounds like an urban legend.

With Natalie Portman dominating the action and exhibiting a screen maturity not seen from her before, this all-stops-out Grand Guignol melodrama exhibits more than enough blood, sweat and tears (emphasis on the blood) to score nicely beyond the ballet crowd.

Curry also emphasizes the human drama of the kid drivers who face their own distinct challenges and setbacks in order to become champions.

It may take some time but Nicole Holofcener’s latest effort gradually grows on you. Partly it’s her obvious affection for her oddball collection of characters; partly it’s the performances of the likes of Keener and Oliver Platt as her wayward husband.

The reinvention of this neighborhood may be in the cause of progress for New York's urban landscape, but sometimes you can't help feeling that the planners and the bureaucrats should leave well-enough alone.

A fine film in a strong summer, but it lacks the spark that made its immediate predecessor a masterpiece.

The Guard may be a formula movie but McDonagh does wonders with the familiar character types and action climax.

The script does not provide that much illumination, yet the power of the acting and the quality of the visual imagery carry us along.

It's important to note that Waste Land is not a landscape film about the landfill itself. Instead, Walker, who also premiered a second documentary at Sundance, "Countdown To Zero," about the threat of nuclear proliferation, shows that Waste Land is ultimately about the pickers, Tiaõ, Zumbi, Suelem among others, who rise up through the power of their own artistic accomplishments.

A beguiling cross between fiction and non-fiction, Alamar regards the relationship three Mexican males have with the sea.

The author's texts are used as biographical inventory, and they're not simply read, they're performed, sometimes to the detriment of the prose.

If it is possible to watch this work as a movie rather than using it as a referendum on its maker’s guilt or innocence, the audience that craves mature, sophisticated and grown-up entertainment will find much to admire here.

A true crime tale with added layers of intrigue and atmosphere.

Will appeal strongly to a mature audience drawn to robust characters, dry wit, and great performances.

The film engages sporadically but mostly fails to take advantage of its under-documented milieu.

Arguably the best creative decision Jacobs and Siskel make in the film is choosing their talented subjects.

The documentary will resonate with New York Times' readers and fans of personal stories.

The blistering tunes and unique animation compensate for the rather unconvincing central love story that works best as a Forrest Gump-ian device to highlight some legendary real-life musicians.

Cary Joji Fukunaga's romantic thriller Jane Eyre is to 19th-century literature what "Black Swan" is to ballet: a thoroughly cinematic, occasionally exhilarating reimagining of a repertoire standard.

What makes this movie truly special is that the source of Buck's uncanny gift is actually an acute childhood sorrow.

Zemeckis intends to give us a slightly more depraved version of Washington's usual charismatic hero, then pull the rug out from him. But Flight's true downward spiral is its own loss of momentum.

The Father of My Children is a protean charmer just like Grégoire Canvel, the title character modeled on the late Humbert Balsan.

Ultimately rather opaque. It lacks sufficient emotional and psychological clarity to cut through our disaster fatigue.

Sensual and romantic with a heavy dose of the supernatural and populated by indelible characters.

Garbus' over-reliance on interviews that state rather than dramatize Fischer's excellence makes this a portrait that too often seems more overheard than inhabited.

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

It's an unforgettable, moving and brilliantly acted drama that richly deserves to be seen by anyone who cherishes great filmmaking.