Kids will fall in love with it as a movie treat full of heart, laughs and fantastic songs, and it could have crossover appeal as a Valentine date night treat thanks to all its pointy-hatted romance.

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

Breillat directs with her characteristic flair for getting under the skin of her protagonists while taking a particular pleasure examining sisterly bonds and feminist concerns within the context of a fairy tale.

Why is Emmerich elbowing his way into the conversation about Shakespearean authorship? Because the debate is explosive - and he can't resist packing on a few more pounds of dynamite on his confident drama of incest, greed and beheadings.

This intense and almost operatic Italian family melodrama recalls the best of Douglas Sirk.

Journalist and director Allison Klayman doesn't mask her awe of the man, who comes off as a cross between a wise Buddha-figure and Santa Claus - he's made for history, and he's making it.

Uproariously funny.

The director of quirky fare with a rabid cult-like following has made a charming, magical and really funny new work about two unique young kids discovering love over one unforgettable summer, and it's the director's most accessible movie yet.

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

Think of it as someone making a peanut butter and chocolate swirl of Mad magazine and The New Yorker - two unique tastes making one great treat.

This over-the-top sequel caters to the lowest common denominator in the best possible way, and it's so fully committed to brainless bombast that it muscles audiences to applaud by sheer force of will.

Ultimately, the film is made for longevity, like all the best Disney titles are. However, it's also a ready-made Broadway show, with numbers, dialogue and even drama-club histrionics all pre-packaged for immediate adaptation to stage.

An impressively dark and well-crafted crime tale about, of all things, cattle farming and "the hormone mafia underworld."

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

Arnold's newest testament to passion and squalor strikes a tone somewhere between Cary Fukinaga's emo "Jane Eyre" and Sophia Coppola's revisionist-hip "Marie Antoinette."

It may be difficult for the youth-obsessed American culture to appreciate the quiet joys rendered in this Italian charmer. But, given the increasing dominion of the Baby-Boomer Generation--hungry for life-affirming images of old age--Mid-August Lunch could prove a sleeper-in-the-making.

Though Warrior excels at the big stuff-fighting sequences and rousing crowds and victories that all but force audiences to stand up and cheer - the film is at its very best in the small moments, the little looks.

What makes Forte so funny is that he stalks through the flick cocksure and utterly deadpan.

For the most part, though, Who Do You Love does a marvelous job of recreating the times and the music and, most of all, of bringing to life this behind-the-scenes giant of the music business.

The Perks Of Being A Wallflower is a sweet surprise, a funny, touching terrific and quite wonderful movie that gets it all right about the joys and heartbreaks of growing up circa 1991.

Easily one of the year's best films and one of the best ever in the well-worn cop genre.

The results are so funny and irresistible audiences are bound to be swept away into this kitty's universe.

The Tillman Story illustrates the amazing lengths the Pentagon went to in order to hide the details of that killing.

The entire cast is superb. Crowe's an ideal Robin Hood-born to play the role-he's fully in command but human to the core. He owns it.

For all lovers of old style animation it should build up the same cultish following as "Triplets."

Lovers of deliberate kitsch should seek it out and make it a part of all celebrations of bad taste. Lovers of “The Godfather” films and new age mafia types like the “Sopranos” have always been into bad taste and so won’t get this.

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.

Films have punctured The American Dream before, but rarely so devastatingly as The Company Men does.