A smart, winning and comic, if at times bittersweet, treat.

Joseph Cedar's Footnote is a wry, wise little film that revels in the cataclysmic import of a life's most ostensibly trivial details.

The film's biggest (and saddest) crime is malaise - it's not that John Carter doesn't care about what it's doing, it just can't make us care, even though the magnitude of every event, conflict and emotion is as melodramatic as its Victorian roots.

A shrewdly understated satire of feel-good dramas disguised as gross-out inside jokes, Tim & Eric's Billion Dollar Movie should alternately leave some viewers in stitches while making others quickly leave the theater.

Silent House is undeniably built on its "one-shot, real-time" gimmick. And while it works reasonably well - especially in the first half of the film - it's still just a gimmick trying to gussy up a common horror flick.

This is purely warm, wonderful, wise and hilarious family entertainment that is fantastic movie fun for everyone.

This Is Not A Film and "A Separation" masterfully show Iranians that are full of the same passions, concerns and desires as the rest of the world-an incredibly important accomplishment now that the drumbeat to war grows louder each day.

The film's strength isn't its shock tactics - it's the rapid-fire, party montage editing that finds a million natural ways to put mundane actions and moments up against each other for comic effect.

Gone starts off as a character study about a woman struggling to regain control of her world in the wake of a horribly intrusive event, but that sort of thing doesn't make for a fun night at the movies, so it quickly concedes to a Hitchcockian "wrong woman" riff, in which sexually motivated abduction serves as the worst MacGuffin in movie history.

Tyler Perry has finally achieved an odd kind of equality that heretofore eluded him: he's now just as mediocre and middle of the road as any other reliable hitmaker in Hollywood.

Shows remarkable access to military materials and personnel but, as a film, is unremarkable every other way.

While "Role Models" mined riches even in the well-plowed comedic soil of cretins befriending kids, Wanderlust's equally musty city-vs-country culture clash plot finds only flecks of hilarity in mostly bland-to-bold mediocrity.

So it's a half-certainty, half-shock that Ghost Rider: Spirit of Vengeance is both good and bad, a sequel that's hungry for thrills but bereft of the cohesiveness - and budget - to be a full meal.

Norton's tale of an undetected community of tiny people is perfectly suited for a cartoon and this beautifully rendered, almost old-fashioned version is a gem.

An impressively dark and well-crafted crime tale about, of all things, cattle farming and "the hormone mafia underworld."

This is one of the super rare docs that packs an unbelievable punch despite its misguided aesthetics. It's a strange triumph of content over form, which is the province of journalists to report.

A dating fantasy for girls and an action bromance for guys, This Means War wins the Valentine date crowd in swoops and strokes, but does it lead to swoons? Not really.

A messy if initially intriguing take on sci-fi-underpinned high school angst for the vlogging age, Chronicle eventually grows repetitive and stale.

Safe House isn't the most original of plots - it feels like a loose amalgamation of ten other spy flicks - but director Espinosa infuses his production with some bold choices, both in terms of technics and twists.

The Vow proves that love can't conquer bad writing.

Surrogate fathers and family values are at the foreground, making the film a quick sell to parents - especially as it boasts the added value of literary roots.

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

The Dish and The Spoon boasts the efficiency and tidiness of early American indies like Rob Nilsson's "Heat and Sunlight," while it relocates its foreign film-like emotional landscapes to more native climes.

The blistering tunes and unique animation compensate for the rather unconvincing central love story that works best as a Forrest Gump-ian device to highlight some legendary real-life musicians.

The result is an odd, very personal film that the pop star-turned-director has made with tender loving care, but the results of the final final film are mixed.

Inspiring, real and heartwarming, Big Miracle is something of a miracle itself - a family film everyone in the family can love that doesn't talk down to its audience and makes more salient political points than "Free Willy" or "Dolphin Tale."

A credible suspense story with a surprisingly bold ending, The Woman In Black is a solid step away from Harry Potter for star Daniel Radcliffe - while it, too, is British and fantastical, the tone is sinister, adult and bleak.

It's a mood piece more than a conventional documentary and it should do comfortably above average business on the theatrical documentary circuit, particularly given its location on the list of Oscar nominated documentaries.