Some of the performances in the film (from Mahalia Jackson to The Clara Ward Singers) are deeply affecting and the historical context the film provides is as impressive as the music itself.

Consider it a force in the Best Animated Film Oscar race.

ParaNorman is easily one of the most charming, imaginative and quirky comedies to come out of Laika Entertainment (Coraline), but for all its cleverness and urbane wit, it's in no way appropriate for kids.

The performances are excellent, even if none of the characters are all that likeable or involving.

Too bad the film's obscure star will be a hard sell to non-music geeks or anyone born after 1965, because this film's a blast.

Not sure if you'll enjoy Safety Not Guaranteed? Here's a quick litmus test: how do you feel about watching Mark Duplass, accompanying himself on zither (!), singing a heartfelt song about how "everyone in the big machine tries to break your heart?"

Lovers of Hate would be a family tragedy if the immature antics of the three characters didn't send you ping-ponging from sympathetic chuckles to guffaws of disgust.

A soft and sweet cancer drama that hits with the force of an ill-timed hug.

It's in the moments Abrams attempts to combine emotional payoffs with popcorn-style thrills that the film rings most false.

Director Steven Spielberg doesn't have a steady grip on War Horse's careening tone, but he'll be damned if there's not 15 minutes in there for everyone.

This is one of those movies in which the lead character is so self-possessed, wise, well spoken and witty, that she sounds far too adult to be a teenager.

By focusing on the human aspect of Al-Qaeda, The Oath does give the viewer something to think about, but the film is unsatisfying, raising questions and providing too few answers.

With perspective firmly confined to the soldiers, Armadillo has inevitably invited many comparisons to "Restrepo," last year's Oscar nominated documentary about Western forces trying to gain ground in Afghanistan. But "Restrepo" is by far the better film.

Overall it's a game effort but despite its strong ambitions and provocative themes, Shame may leave you just like its main protagonist - in need of a very cold shower.

A small film about enormous fears.

A rousingly funny, heartfelt and imaginative 'toon blessed with the vocal talents of Steve Carell and loaded with whimsy and smarts.

The twists and turns in The Double Hour are not arbitrary; rather, they are well considered and effective, right down to the last frame.

It's a stirring mix of sports and human drama that exudes an almost earthy sense of genuineness.

Alcoholic movie characters run the gamut from lovable millionaire (Arthur) to Skid Row bum (Henry Chinaski from Barfly) to all-out, suicidal depressive (Ben from Leaving Las Vegas). As written and performed, Winstead's Kate triangulates between all these approaches and finds a sincerity that plays to the intellect, not to the rafters.

That sense of mischief and pleasure in the craft makes Bellamy a thoroughly intriguing and likeable experience. From Chabrol we would expect nothing less.

A tough psychological drama, it may stretch some audience sensibilities.

Smart, empathetic and wholly believable.

This is strictly talking heads fare, broken up with movie clips, stills and home movies; fortunately, Jack Cardiff's ephemera are better than yours.

The equally simple and profound take-away from One Lucky Elephant is that the best thing we can do is let Flora be Flora.

Writer/director René Féret tells the absorbing and ultimately tragic story of this gifted young woman now forgotten by history.

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.

Compellingly taut and existentially thoughtful, this exceptional Euro-American hybrid is perfectly pitched for the kind of crossover success previously enjoyed by Guillaume Canet's 2006 surprise hit "Tell No One."

Cody's snappy, spot-on writing and Reitman's clear-eyed direction should suit audiences looking for a black-as-night dramedy with bite.