Fans of Coppola's movies (and/or perfume ads) will find this free of the absurd pop-rock flourishes in "Antoinette" and more consistent with the skilled tonality and narrative ambiguity of "Translation."

Based on two of his previous shorts, this lurid vision is good for a few laughs-some intended, some not.

Director Ry Russo-Young, who cowrote the script with Schnabel, is gunning for a big generational statement, but her ordnance is strictly small bore.

This remake by Joel and Ethan Coen is being positioned as a truer True Grit, and though they take their own liberties with the plot and tone, they preserve Portis's impeccably authentic dialogue, which does more to conjure up the Arkansas of the 1870s than any period trappings.

The Focker franchise has become such a swell payday (Meet the Parents grossed $166 million; Meet the Fockers, $279 million) that now everyone wants in on the act.

The two leads keep the movie afloat with their light-footed class warfare. This Anglican buddy romance is buoyed by a spicy history lesson about the scandalous marriage of the duke's elder brother, Edward VIII, to the twice-divorced Wallis Simpson.

The special effects are incredible, blah blah blah, but oddly, the most effective element here is the original movie's striking visual design-everything pitch black except for the luminescent piping on the costumes and foreground objects-which was inspired by the primitive arcade games of the early 80s.

The result is highly entertaining but hardly ranks with the director's best work; a dramatic subplot involving the money guy and his corrupt father (a disengaged Jack Nicholson) never gains traction.

For a filmmaker like Julie Taymor, Shakespeare's language isn't nearly as enticing as Prospero's violent manipulation of the elements, and this screen adaptation of the play-like her egregious Beatles movie "Across the Universe" (2007)-is primarily an exercise in eccentric (and, I would argue, empty) spectacle.

Bale dominates the movie as Dicky Eklund, a pathetic loudmouth who's let his own fight career slip away from him, yet what really holds this together is Wahlberg's low-key, firmly internalized performance as a man torn between his loyalty to the clan and his responsibility to himself.

Handsome and generally amusing adventure.

This odd-couple comedy reunites Galifianakis with Todd Phillips, who directed "The Hangover," but don't expect anything like the other movie's novel plotting or wild slapstick.

Thanks to her fearless, charismatic star, Ondi Timoner has directed one of the more hopeful movies of the year.

Screenwriter Mark Bomback doesn't do much with the backstory scenes linking Pine and Washington to their worried families, but the main story is gripping, flawlessly paced, and nicely grounded in operational detail.

Strange, dumb, and sometimes even fun.

This haunting drama by Claire Denis burns with a mute fear and rage at the ongoing atrocities in central Africa.

A watered-down satire of the pharmaceutical industry.

The film never outshines its influences, but as back-to-basics action filmmaking, it's often superb.

The result is notably dim and flat on a big screen, and the giant-monster scenes, often cloaked in darkness, are few and disappointing. Edwards tries to take the high road with a politically intriguing premise (a la District 9) and a tight focus on the evolving relationship between his two traveling companions, but his shapeless script doesn't do much with either element.

This is the art-house equivalent of a Clive Barker splatterfest, punctuated by mildly amusing stabs at Lynchian absurdity and compromised by an incoherent plot twist that would leave M. Night Shyamalan rolling his eyes.

Fast-paced and intelligent documentary.

Unfortunately, this is one of those movies with a twist ending that turns a character inside out, revealing earlier scenes to be essentially fraudulent and more or less invalidating one's emotional investment in the story. No one ever walked out of a Hitchcock movie feeling as cheated as this made me feel.

The tale of Rapunzel gets a cheeky make-over in this gorgeous Disney animation, which combines the studio's traditional hand-drawn look with the sculptural qualities of digital 3D.

The current burlesque revival is a throwback to ostensibly more innocent times, and writer-director Steven Antin finds something redemptive in each character.

A tolerably warm bath of postcollegiate self-pity, salted with irony and self-mockery.

The beguiling creature design--from minotaur to dragon, sea serpent to one-footed dwarf--and 3D effects heighten the illusion of a storybook coming alive, while the rousing sea adventure drives home Lewis's Christian ethos better than either of the previous entries.

Unfortunately, as the opening title might suggest, the filmmakers have punted on the hard cinematic work of making the incredible seem credible; instead they've turned Russell's story into a broad farce with one wocka-wocka gag after another.

The best portion is an animated story-within-the-story, supervised by Ben Hibon, that recalls Lotte Reiniger's filigreed shadow puppets as it sets the stage for armageddon.