Bowdon makes a compelling argument against the defensive maneuvers of teachers' unions and in favor of vouchers and charter schools, but his documentary is no exercise in free-market cant. It merely explodes the fiction that funneling more money into the same highly bureaucratized and politicized system will fix our deepening education crisis.

You won't find many surprises in the equally funny U.S. remake from producer and star Chris Rock.

Some have suggested that the whole story, including the emergence of Mr. Brainwash, is an elaborate hoax engineered by Banksy to satirize the commodification of art. If so, it’s a brilliant one.

Writer-director Derrick Borte brings a heavy hand to the comedy and an even heavier one to the drama.

This is worth catching just for the scene in which Behdad, pulled before an Islamic judge for possession of banned DVDs, intermittently cowers and rages, and ultimately talks his way out of a flogging.

Well-meaning but thick with cliches.

Director Juan José Campanella weaves together two love stories--between the victim and her husband, and the investigator and his former boss (Soledad Villamil)--and creates some masterful set pieces; his breathless chase through a packed soccer stadium is a marvel of choreography and top-notch CGI.

Director Shawn Levy delivers his usual middle-of-the-road product.

Whether or not she's alive is the question that's supposed to animate this ostensibly metaphysical horror movie, but thematic rigor mortis sets in long before the final reel.

Some have called this neo-noir, but aside from the setting there’s nothing "neo" about it; as in classic noir, the characters are slowly but surely ensnared by their own baser impulses.

As usual, the three instrumentalists (Ray Manzarek, John Densmore, Robby Krieger) take a backseat to their gorgeous front man, though their nimble, idiosyncratic playing has aged much better than his pretentious poetry.

Sitting on the shelf since 2008, when it was muscled out of the marketplace by "Cadillac Records," Sony's glossy, star-studded movie about Leonard. But it's clearly the better movie, earthier, wittier, and more intimate in its treatment of America's racial divide in the 1950s.

Shirin Neshat, best known for her video installations, makes her feature directing debut with this elegant, often moving story of four Iranian women trapped by their circumstances in the turmoil preceding the 1953 coup.

The after-school-special moralizing is mitigated by the project's sincerity and textured locale.

By the end of this 124-minute drama I'd have settled for ANYONE else, but like most visits with irritating people, the movie lingers, sharpening one's judgment.

Tyler Perry grounds this sequel to "Why Did I Get Married?" (2007) in his trademark blend of comedy, soap opera, and down-home southern sentiment, though he lets up a little on the moral proselytizing, which aids the digestion considerably.

This remake is interesting mainly for the chance to see top-flight acting talent labor over dialogue so leaden you could cast bullets from it.

Years on the Hannah Montana TV series have not adequately prepared Miley Cyrus for screen acting.

A lunatic cast energizes this comic fantasy.

As the aching spouse, Moore delivers what is for her an unusually sympathetic performance.

Witty and satisfying.

Even in its sanitized state, this movie about the generational revolt that reinvigorated Disney’s animation department in the 1980s and ’90s is fascinating, thick with studio intrigue and lavishly illustrated with archival sketches and test animations.

Inexplicably, Butler continues to get work in romantic comedies despite his limited range and boorish persona.

Has exactly the same premise (Repo! The Genetic Opera).

Frank De Felitta wrote and directed this feeble but well-stuffed comedy; Alan Arkin and Emily Morton are wasted in cameos as Garcia's drama coach and acting buddy, respectively.

It's eminently suitable for children, fully inhabiting their world and finding real laughs there without resorting to sentiment, condescension, or snarky in-jokes for the adults.

The cluttered narrative leaves little room for character development, though director Niels Arden Oplev does manage to accommodate plenty of gratuitous torture and rape.

Stiller plays a monster, and when Gerwig goes for him, declaring that she sees his tender side, the development seems like a fond indulgence on the part of writer-director Noah Baumbach.