Clint Eastwood and a superb cast hit it out of the park in Trouble With The Curve, a great entertainment filled with heart, humor, family drama and fantastic acting.

Mike Leigh has a knack of making the ordinary extraordinary. Here he deals with themes of class, family and depression over a period of a year, breaking it up into seasonal chapters.

Despite all the boobs, The Change-Up is very fair to its female characters-well, at least to Mann and Wilde, who both ring true, even if Wilde is almost too good to be true...It sounds like a trifling detail, but those details are sorely missing from most "date movies," in which even the women laughing in the audience exit feeling like they're the butt of the joke.

In Darkness takes its place among the many great European films to tackle the subject. Plenty of quality-seeking adult moviegoers will be lured to the arthouse and thoroughly moved.

At barely 80 minutes, the film seems like a slight little adventure, but Fleischer fleshes out his twists and turns to make it feel like a fully-rendered story.

A refreshingly pure, honest and original love story, Waiting For Forever is one from the heart with superb performances from a talented cast.

The most surprising courtroom drama since 1985's "Jagged Edge," The Lincoln Lawyer is a don't-miss cinematic page-turner with enough twists to fill five movies.

The deadly sins of envy, lust and salacious gossip in deepest rural England provide the motor for Stephen Frears's black romp, featuring vivacious former Bond girl Gemma Arterton.

Let Me In eclipses "Twilight" in every way, leaving you thirsty for more of this haunting, touching and unforgettable thriller.

In a crackerjack and very lean 100 minutes, the lithe and physically dynamic Jolie burns up the screen and shows the boys how it's done.

Movies don't get much funnier than Ted.

The emotional journey is articulated with so much nuance, and such a vigorous belief in human possibility, that everything The Surrogate touches becomes its own, and is made new.

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

A Hitchcockian thriller with a bit of "Unstoppable" and a little "Unknown," Source Code is a pulse-pounding flick.

As divisive as his documentary "Kurt and Courtney," this made-for-British-TV doc by Nick Broomfield begins with the promise of neutrality - but it's a promise the film can't keep.

While it is captivating stylistically, and the primer on the China/Taiwan relationship is great fodder for political geeks, even in its deepest moments of intrigue and pathos this is a cable TV movie at best.

An entomologist's delight, Jessica Oreck's movie about Japan's insect mania is worth watching even if you're repulsed by creepy-crawlers.

Jones delivers her line readings so robotically that even her truths sound like lies. She's got the look of a Hitchcock blonde, and the movements of a deer in the headlights. Even her kisses look fake.

Directors Keith Scholey (who also wrote the narration) and Alastair Fothergill spent nearly three years capturing this remarkable footage, and have edited it judiciously with an eye to entertainment.

The result is the best slice of Pie yet: a savvy sequel that's flat-out hilarious raunchy fun.

Fun for every member of the family, despite marketing that suggests it may be intended for only the youngest of the bunch.

Equally nostalgic and fresh-faced, Guy and Madeline on a Park Bench is a bohemian musical that owes as much to Cassavetes "Shadows" as it does the French musicals of the '30s.

The unexpected directions in their family dynamics and unflinching scenes of the volatile Marc keep Prodigal Sons absorbing.

There's plenty of atmosphere and awe, even if it's in the service of a story that starts rote and finds its sea legs only when half the divers have sunk their bones to Davy Jones.

While it isn't the only adaptation to give flesh (or ink) to Cleary's indomitable misfit, it's the most accessible retelling to date.

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.

Using clips from home movies, newsreels and public access TV, Davis does a heroic job of bringing the edgy and diffuse mixed-media New York art scene of the '80s back to life.

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