Epic in scope, and featuring a powerful lead performance by Williams, Reichardt does justice to the myth of the wagon train settlers and makes a Western every bit as beautiful and poetic as Terrence Malick's "Days of Heaven," and thankfully a bit more energetic.

The bright spot-and what saves Greenspan's debut feature from being nothing more than a long tedious draft of an ordinary craft brew-is James Liston's cinematography.

The film engages sporadically but mostly fails to take advantage of its under-documented milieu.

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

With a sterling cast and an emotionally powerful performance from newcomer Liana Liberato, Trust packs a real dramatic punch.

Where Rubber veers off the road is that for all its giggly moments and meta-whatever, it's never quite funny enough or scary enough.

Insidious could have been something special: a horror movie that actually horrifies without resorting to gore. Instead, thanks to too many cheap jokes and a bit of silly music, it falls short.

This depraved charmer offers enough to admire and a specialized hipster crowd will enjoy it, if to a mutedly positive effect.

An artistically mature work with pitch perfect performances.

Has a stirring elemental feel and constitutes filmmaking at its most basic and transfixing.

Alternately beguiling and actively irritating, Frammartino's second feature is too uneven to recommend whole-heartedly, but contains so many individually fascinating movies that attention should be paid.

Even better than the first edition, in its own sitcom-ish ways.

Tackling his own original screenplay, Zack Snyder keeps his reputation for outlandish visuals intact but strikes out as a storyteller.

Making the Boys is at once political and personal. It is a history lesson, a sociological study and a memoir. It is a tale told with warmth and humor. And it is irresistible.

Koolhoven manages the difficult balance of entertaining as well as offering a high emotional impact, with considerable agility. Pino Donaggio's soaring and powerful score intensifies all of the drama.

The film proves a gripping, if uneven, cinematic journey.

The real star of the film, however, is Shapiro who, despite treading on marginally derivative subject matter, demonstrates a solid sense of style and a refreshingly delicate hand with actors.

When all the pieces finally come together at the end, the effect is less impressive than it is reminiscent of "Wayne's World": multiple endings, no real impact or weight to either.

Paul is a close encounter with the comic brilliance of Simon Pegg and Nick Frost that makes going to the movies fun again.

To his credit, director Neil Burger either doesn't realize or doesn't care that the material is hokey to the point of unintentional hilarity-if not for the film's intermittent moments of hyper-stylization and its almost crippling sense of self-importance, Limitless might have been a truly unwatchable bore rather than just annoyingly silly and tedious.

Scott excels in maintaining a low, persistent hum of eroticism whose purpose is not titillation or camp.

The Music Never Stopped isn't exactly good, but it's definitely better than you fear it is when you reach the halfway mark.

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

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

This impressive documentary on rarely seen art will have strong appeal for art aficionados.

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.

A charmingly hardened Carla Gugino reprises her role as the titular porn star, still pregnant and now coping with retirement.

It's worth remembering that eleven years passed between "Judy Berlin" and 3 Backyards, both of which earned Mendelsohn best director prizes at Sundance.