Still, this is an involving and inspirational tale, highlighted by a Christopher Walken performance that is remarkably free of any showy tics or mannerisms and is a reminder Walken is a great actor first, a lovable caricature second.

This is a relatively gentle indictment of the cynical, money-driven political system, bolstered by winning performances from the ensemble cast. The insightful screenplay by Stewart takes Hollywood’s tendency to condescend to small-town America and turns it upside down in clever fashion.

May be pitching itself to the wrong audience. The ads promise: "The Rhythm ... the Beat ... the Love ... and You Don't Stop!" But it's not a musical and although it's sometimes a comedy, it's observant about its people.

Marling has crafted a nicely taut, suspenseful cinematic journey into the world of corporate espionage.

I did not really enjoy this movie, and yet I recommend it. Why? Because I think it's on to something interesting. Here is a movie about a woman who never stops thinking. That may not be as good for you as it is for her.

The kind of movie that leaves you with fundamental objections. But that's after it's over. While it's playing, it's surprisingly good.

The most important sequence in Late Marriage is a refreshingly frank sex scene involving Zaza and Judith. -- Watching this scene, we realize that most sex scenes in the movies play like auditions.

In Death Wish we get just about the definitive Bronson; rarely has a leading role contained fewer words or more violence.

Tom Cruise is perfectly satisfactory, if not electrifying, in the leading role.

In the funny and insightful and loosely structured comedy/drama 2 Minutes of Fame, Pharoah plays an aspiring stand-up comic not unlike the young Jay Pharoah, which presents the opportunity for him to trot out some of his Greatest Hits impersonations — but he also proves to be a more than capable actor.

Conventional as it may be, Shall We Dance? offers genuine delights. The fact that Paulina is uninterested in romance with John comes as sort of a relief, freeing the story to be about something other than the inexorable collision of their genitals.

For about an hour, The Lobster is pure absurdist greatness, brimming with pitch-black shock humor and big, wild ideas. The second half of the film isn’t nearly as imaginative and startling, but I walked out of the screening with the surefire knowledge I wouldn’t soon shake off its most inspired sequences.

The first hour of Neighbors is probably more fun than the second, if only because the plot developments come as a series of surprises. After a while, the bizarre logic of the movie becomes more predictable. But Neighbors is a truly interesting comedy, an offbeat experiment in hallucinatory black humor. It grows on you.

It's a good movie, and Channing and Stiles are the right choices for these roles. They zero in on each other like heat-seeking missiles.

The movie is well and fearlessly acted, and the writer-director (Fatih Akin) is determined to follow her story to a logical and believable conclusion, rather than letting everyone off the hook with a conventional ending.

Violet & Daisy won’t be everyone’s cup of tea... But view this as a modern comic book/fairy tale, and it’s easier to accept this saga of girls with guns and the life lessons they eventually confront.

Fear of a Black Hat, which treats rap with the same droll dubiousness that This is Spinal Tap provided for heavy metal, is not as fearless and sharp-edged as it could be - but it provides a lot of laughs, and barbecues a few sacred cows.

I wouldn't have thought that even in animation a 1951 Hudson Hornet could look simultaneously like itself and like Paul Newman, but you will witness that feat, and others, in Cars.

We’re the Millers is just good enough to keep you entertained, but not good enough to keep your mind from wandering from time to time. This is an aggressively funny comedy that takes a lot of chances, and connects just often enough.

Killing Gunther is filled with explosive action. As a director, Killam displays a veteran’s knack for shooting the shootouts and fisticuffs, nearly all of it carried out in slapstick, nearly “Three Stooges”-level comedic fashion.

I like Bob Roberts - I like its audacity, its freedom to say the obvious things about how our political process has been debased - but if it had been only about campaign tactics and techniques, I would have liked it more.

Everything we witness in this film is literally seen through the point of view of a spectral presence, but it’s the machinations of a deeply dysfunctional nuclear family that makes it all so intriguing.

The movie does not propose to be a comedy, a musical, a film noir story or a medical account. It proposes to be a subjective view of suffering, and the ways this character tries to cope with it. Understand that, and the pieces fall into place.

This is a film that provides more questions than answers but leaves plenty of food for thought.

Did I enjoy Ong-Bak? As brainless but skillful action choreography, yes. And I would have enjoyed it even more if I'd known going in that the stunts were being performed in the old-fashioned, pre-computer way.

The race is more like a private poker game held upstairs in somebody's suite during the World Series of Poker.

The news about this movie is that it makes it clear that both Timberlake and Kunis are the real thing when it comes to light comedy.