July has mounted a surrealist fable about the delicate balance between relationships and the inner monologue inside each lover, with its incessant demands and individual needs. Unevenness is an aesthetic here - not so much a flaw as a conscious choice.

In keeping with the flamboyant clan of despots that were the Husseins, the drama is ultraviolent and over the top and made absolutely mesmerizing by Dominic Cooper's electrifying turn in both roles.

It's easy to like the cast - thanks as much to their previous work as anything on screen here - but with such a convoluted, illogical and dull story, no one fares particularly well.

Cornish's idiomatic dialogue is hilarious and the longtime comic's sense of timing is perfect.

A superb ensemble cast makes the most of the comedy's numerous detours and storylines.

Lucky has its moments, but even with good, sometimes exceptional performances, its criminally vile characters are never likable enough to make you laugh at (or forgive) their wickedness.

By poking fun at the cliches, director Gluck thinks he can turn an inevitability into an in-joke. Eh, it'll do.

What I can say is if you're flesh and blood, and have ever suffered a substantial loss, you will be moved by Another Earth. And also renewed.

That Sarah's Key never quite descends into melodrama is a credit to the strength of Scott Thomas' performance, more than to the writing.

Gingerly pieced together, The Woman with the 5 Elephants has a delicacy and indirectness that's alluring and provocative at the same time.

What really distinguishes Captain from the other superhero movies of 2011 (and quite frankly, the majority of the others released in the last several years) is a romance that feels like an integral - not incidental - component of the plot.

The Undefeated says less about Sarah Palin than about the political and cultural environment that made her big screen beatification possible.

A highly entertaining and richly human movie experience with a gem of a performance from Jenna Fischer.

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.

This elegant weepie offers plenty for fans of melodrama, character-driven stories and period pieces.

Stunningly shot by cinematographer Nigel Bluck (Handsome Harry) the film captures beautifully the magic of the foliage and the surrounding landscapes.

It is a dark drama to be sure and it does carry with it a whiff of disease-of-the-week melodrama, yet there is also transcendence in the tale; as bleak as the film is, it is not without hope.

Gripping, offensive and bewildering, Tabloid is a mean-spirited masterpiece.

Part II gets everything right to send off Harry on a cinematic high.

In this case, boredom is the deadliest sin.

The Sleeping Beauty lacks either the dramatic intensity or the sexual frankness that drew attention to her previous films "Fat Girl" and "The Last Mistress."

Too dull for camp and too bad to be taken seriously.

Almost totally devoid of charm and genuine laughs despite the presence of star Kevin James and a wonderful veteran voice cast for the creatures.

The laughs are proportionate to the stakes, which are middle-of-the-road.

Casting is almost uniformly first rate with Cox, Purefoy and the always brilliant Giamatti providing noteworthy standouts.

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."

Typically, Carpenter thrives on modestly budgeted films like The Ward, but this one comes off as an amateurish misstep due to unoriginal storytelling from fledgling screenwriters Michael and Shawn Rasmussen.

British filmmaker James Marsh recreates this tale of an ambitious primate language study through traditional face-the-camera interviews, clever graphics and dramatic recreations.