I guess you have to be in the mood for a goofball picture like this. I guess I was.

It "explains" nothing but feels everything. It reminds me of two other films: Bresson's "Mouchette," about a poor girl victimized by a village, and Karen Gehre's "Begging Naked," shown at Ebertfest this year, about a woman whose art is prized even as she lives in Central Park.

Baratz doesn't ask any of the obvious questions, preferring to observe uncritically, and if you can do the same, you may find Unmistaken Child worth seeing. I could not, and grew restless.

This is another masterwork from Pixar, which is leading the charge in modern animation.

The movie is uncommonly absorbing.

Odd is played by Baard Owe, a trim, fit man with a neat mustache, who may cause you to think a little of James Stewart, Jacques Tati or Jean Rochefort.

Oh, did I dislike this film. It made me squirm. Its premise is lame, its plot relentlessly predictable, its characters with personalities that would distinguish picture books.

This film is true about human nature. It is not universal, but within its particular focus, it is unrelenting.

The dialogue has an edgy wit, although it has no ambitions to be falling-down funny. Here is the Odd Couple formula applied in a specific time and place that make them feel very odd indeed.

Most of the running time is occupied by action sequences, chase sequences, motorcycle sequences, plow-truck sequences, helicopter sequences, fighter-plane sequences, towering android sequences and fistfights. It gives you all the pleasure of a video game without the bother of having to play it.

This kind of film requires us to be very forgiving, and if we are, it promises to entertain. Angels & Demons succeeds.

This movie is lively at times, it's lovely to look at, and the actors are persuasive in very difficult material. But around and around it goes, and where it stops, nobody by that point much cares.

Very funny in an insidious way.

Petzold, who also wrote the script, doesn't make level one thrillers, and his characters may be smarter than us, or dumber. It's never just about the plot, anyway. It has to do with random accidents, dangerous coincidences, miscalculations, simple mistakes. And the motives are never simple.

Management works as a sweet rom-com with some fairly big laughs.

The actors all find the correct notes. It is a French film, and so they are allowed to be adult and intelligent.

Some viewers may find the film confusing; I found it absorbing.

Tilda Swinton hasn't often been more fascinating than in Julia, a nerve-wracking thriller with a twisty plot and startling realism.

Little Ashes is absorbing but not compelling. Most of its action is inward.

A bloody screwball comedy, a film of high spirits. It tells a complicated story with acute timing and clarity, and gives us drug-dealing lowlifes who are almost poetic in their clockwork dialogue.

This is not a deep movie, but it's a broad one. It reunites three talents who had an enormous hit with "Y Tu Mama Tambien": actors Gael Garcia Bernal and Diego Luna, and Carlos Cuaron, who wrote that film and writes and directs this one. Instead of trying to top themselves with life and poignancy, they wisely do something for fun.

The movie deals with narrative housekeeping. Perhaps the next one will engage these characters in a more challenging and devious story, one more about testing their personalities than re-establishing them. In the meantime, you want space opera, you got it.

The animation is nicely stylized and the color palette well-chosen, although the humans are so square-jawed, they make Dick Tracy look like Andy Gump. The voice performances are persuasive. The obvious drawback is that the film is in 3-D. If you can find a theater showing it in 2-D, seek it out.

It's not particularly funny to hear women described and valued exclusively in terms of their function as disposable sexual partners. A lot of Connor's dialogue is just plain sadistic and qualifies him as that part of an ass it shares with a doughnut.

Jarmusch is making some kind of a point. I think the point is that if you strip a story down to its bare essentials, you will have very little left. I wonder how he pitched this idea to his investors.

Original, absorbing and curiously moving.

Revanche involves a rare coming together of a male's criminal nature and a female's deep needs, entwined with a first-rate thriller. It is also perceptive in observing characters, including a proud old man. Rare is the thriller that is more about the reasons of people instead of the needs of the plot.

The film has extraordinary beauty. Indeed, the visuals by cinematographer Gokhan Tiryaki are so awesome that the characters almost seem belittled, which may be Ceylan's purpose.