If "Harold and Maude" hadn't already gotten there 40 years ago, this quirky but engaging trifle might seem refreshingly original.

Upbeat, bitter, sweet and always gripping, Shut Up! Little Man gives remix culture the ucky origin story it likely won't heed, but could sorely use nonetheless.

Director Douglas McGrath's empathy rescues it from the brink of disaster porn - it's so good-hearted and optimistic that a swath of stressed out moms will feel the flick speaks directly to them, which it does.

An investigation into Pieter Bruegel the Elder's painting "The Way to Calvary," Majewski's film is a stunning piece of art in its own right.

Of course, Bucky Larson isn't one of the year's worst films because its laughs are poisoned and problematic - rather, it's one of the year's worst films because there aren't any laughs at all.

Surprisingly, George Clooney's direction is somewhat underwhelming with crucial conversations oddly lacking in tension.

The surprisingly effective Moneyball has a smart script, solid direction and great performances.

Shaolin is simultaneously regal and stilted, stirring and sluggish.

Falling to pieces almost immediately, and then somehow discovering new ways to devolve into outright ludicrousness, it's a horror effort of such silliness that it's likely to be greeted with apathy at the box office before making a swift, deserved trip to the local video store's bargain bin.

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.

The title's no joke: the film presents Ceausescu as he presented himself to the world and wanted to be remembered.

This is Steven Soderbergh at his best delivering a gripping, chilling and powerful movie experience that will have audiences talking (and freaking out).

Drive dynamically merges a terrific film noir plot with a cool retro look, evoking '60s classics like "Point Blank" and "Bullitt."

Apollo 18 is a drab horror that tries to plant fears about untrustworthy authority (Nixon, NASA, etc) that are as stale as a freeze-dried peas.

A thoroughly shabby attempt to piggyback on the success of last year's "Piranha 3D," Shark Night 3D embraces convention with a voraciousness matched only by its predictability, amateurishness and all-around tameness.

The big event plays in the same cartoonish key as the rest of the film.

What Foy and his team discover is unbelievable. More importantly, their adventures will prove popular with street art buffs as well as documentary fans.

Just when many may have thought that Cold War thrillers had gone out of fashion, along comes one to reinvigorate the genre.

A squishy Hallmark Channel-level melodrama that rarely bothers to mask its propagandistic intentions.

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.

A CG-steeped period-piece fantasy that weds whodunit drama and punch-and-kick mayhem.

Circumstance demonstrates raw talent and a taste for big ideas.

Despite its ultimate lack of profundity, Gainsbourg is certain to still be a sufficiently engaging and meaningful experience to enthrall the initiated while stimulating the curiosity of the uninitiated.

While most action films fall apart because they succumb to stupidity, Colombiana suffers most because it tries to be too smart.

Higher Ground is a weird film with some very nice moments, but its odd and offbeat combination of comic touches, serious spiritual subject matter and occasional surrealist interludes never quiet gels.

Control's Sam Riley steps into a role made unforgettable by a young Richard Attenborough in the 1947 original and makes it his own, slipping into the character like a second skin.

Far more charming, quick-witted and high spirited than anyone could have expected...for a film that didn't screen for press. It's gimmicky up the wazoo (not just 3D, but scratch-and-sniff "Aroma-Scope" cards handed out at screenings) and it's all the better for it.

Programming the Nation is a lo-fi, issues-driven documentary carried along by the strength of its ideas rather than its artless desktop aesthetic.