A rich, smart, funny, sometimes acidic portrayal of a couple who can be spectacular when they’re in tune — and toxic when they’re at each other’s throats.

This is a slick con, all flash and no substance. Now You See Me seems awfully sure of itself, with self-important, intrusive music, sweeping tracking shots and actors chewing up the scenery.

Quite simply, this is one of the worst films of 2013.

Thymaya Payne's Stolen Seas is a documentary of such ambitious scope that you might need a remote control and a notebook to keep up with it.

While never losing its visual dazzle-factor, Epic keeps returning to overly familiar themes and characters.

Against all odds, the billion-dollar “Fast & Furious” franchise is actually picking up momentum, with “FF6” clocking in as the fastest, funniest and most outlandish chapter yet.

Director Todd Phillips has delivered a film so different from the first two, one could even ask if this is even supposed to be a comedy. I'm not saying it's an unfunny comedy wannabe; I'm saying it plays more like a straightforward, real-world thriller with a few laughs than a hard-R slapstick farce.

Kim deals with an ancient suspicion of money that predates Marx, MasterCard and Madoff.

Yet with all the futuristic splendor and the suitably majestic score and the fine performances, “Into Darkness” only occasionally soars, mostly settling for being a solid but unspectacular effort that sets the stage for the next chapter(s).

While Peeples follows a very predictable course as a romantic comedy and does not break any ground in that genre of filmmaking, this movie is more engaging than you might expect.

After a while, it seems to run out of places to go, but for most of its running time, it’s a wickedly clever divertissement.

Assayas looks back on the values and priorities of the time with a vision that’s both wry and tender.

Amidst all the fireworks and the cascading champagne and the insanely over-the-top parties, we’re reminded again and again that The Great Gatsby is about a man who spends half a decade constructing an elaborate monument to the woman of his dreams.

Kon-Tiki reminds us how important it is to expand our horizons by making discoveries, exploring new worlds and pushing ourselves to the absolute limits of human endurance.

Deliberately ambiguous, The Reluctant Fundamentalist provides just enough answers while leaving us with more than enough questions. It's a film that demands discussion afterward.

Morales trafficks in familiar formulas of an everyman in a bind with evil men. What sets Graceland apart are the conflicted values of its characters.

Thanks to Downey’s genius, Iron Man 3 is equally terrific, whether Tony’s fending off an army of villains or bantering with a kid in a shed on a cold, snowy night.

The first-rate Italian comedy Reality — which fakes Pope Benedict appearing in St. Peter’s Square — likens consecration to elevating an “everyman” to pop celebrity.

Scott keeps the story from becoming cloying and sentimental. He is aided by smart, low-key work from his cast, especially Huard, who easily embodies the persona of an adult slacker, instilling him with a warm charm.

The film indulges in sentimental and sensational tropes. The manipulative touches do more than dis­­­­­­tract, they irk. This story could have been retold without resorting to all the unfortunate formulas used in prime-time and cable fare.

Panic about pop culture is not new. Yet Antiviral finds a novel angle of attack.

Language of a Broken Heart has the Lifetime Network written all over it. It’s a fitting entry for that venue but as a theatrical feature, it’s simply not up to the task.

Bourdos’ high-minded aspirations are obvious, but his visually satisfying film is dramatically elusive.

First-time feature director Dante Ariola (working from a script by Becky Johnson) has a good feel for these characters and keeps things moving along at a brisk pace.

Director Kasper Barfoed defaults to intense replays of surveillance audio recordings, frantic strokes on computer keyboards, and standard-issue chases.

It is a full-bodied silent film of the sort that might have been made by the greatest directors of the 1920s, if such details as the kinky sadomasochism of this film's evil stepmother could have been slipped past the censors.

This is a brave, layered film that challenges the wisdom of victory at any price. Both of its central characters would slip easily into conventional plot formulas, but Bahrani looks deeply into their souls and finds so much more.

There’s not a bad performance in this movie. De Niro, Keaton and Sarandon are particularly good, what a surprise. But it feels as if all the guests at “The Big Wedding” are wearing ID tags telling us their one Plot Point.