Despite never having made a movie before, and utilizing comparatively primitive camera and recording equipment, Kurt and his son Ian crafted a movie unlike any other in the rock-doc genre.

You can blissfully zone out on the director's pretty pictures, which is a permissible indulgence when the pictures are as delicately alluring as they are here. Also, the performances of Kikuchi and Hatsune are first-rate.

The Iron Lady is too bland to be controversial, too antiquated to speak to the present.

A Separation is not the work of a constrained artist. It's a great movie in which the full range of human interaction seems to play itself out before our eyes.

The filmmaking is often wayward, the scenes of confrontation sometimes too stagey, but Oduye is a marvelous young actress with a camera-ready face brimming with soulfulness.

Daldry and his screenwriter Eric Roth make the mistake of showing bodies falling from the Twin Towers – it's a mistake because its graphic power seems more exploitative than cathartic – but they otherwise thankfully refrain from pulling out all the stops.

Danijel, who cares for Ajla while at the same time carrying out his mission of ethnic cleansing, is the least fully explored character in the movie, which leaves a big blur at its core. Still, this is an impressive piece of work that doesn't flinch from the atrocities that no doubt motivated Jolie to make the film in the first place.

If, like me, you find the movie technique known as motion capture creepy, you might be put off going to see Steven Spielberg's 3-D The Adventures of Tintin.

War Horse, despite its excellences, is a supreme demonstration of a director phoning it in.

Scarlett Johansson plays the head zookeeper and she's a lot less mannered than usual.

The coolness here has its creepiness, as in the dispassionate way Fincher depicts Lisbeth's rape and her subsequent, harrowing revenge, but the suspicion remains: Fincher didn't make this movie his own because he doesn't consider it his own.

If this was a quintessential Polanski movie, something malign would reside inside its heart: The sitcom would explode its boundaries. The movie is called Carnage, but the carnivores on display are toothless.

What this film really celebrates is crunch-and-thud video-game-style action, not especially well choreographed by director Guy Ritchie.

A very good thrill ride and Cruise is better than he's been in a long time.

The filmmakers may be just as clueless as Buddy when it comes to Mavis, who resembles nothing so much as a snooty stalker.

It's a beautifully modulated performance of a man whose presence, at times, seems on the verge of vanishing – not a bad attribute for a spy.

The cast, at least on paper, is formidable, if ill-used.

Sit this one out.

Once summer ends and the kids enroll in school, the jig will be up. The film ends with that eventuality. It would have been richer if it had opened with it.

It gives ample play to all sides of the argument. Herzog allows us to think things through on our own.

The action is swift and witty, and the 3-D effects are imaginative and not simply tacked on as with so many animated movies these days.

Hugo is a mixed bag but one well worth rummaging through.

Branagh is marvelous at conveying his exasperation. His conceit is that Olivier offstage acted the same as Olivier onstage – as if all of life was a vast playlet. For someone as thoroughly actorly as Olivier, this is probably no exaggeration. I would like to think that the great man himself would have smiled at Branagh's rollicking rendition of tantrums.

Low point would be Knightley's hysterical opening sequences in which she appears to be trying to trying to contort herself into a Moebius strip. Overacting this gross can only have been enabled by a director. Didn't Cronenberg look at the rushes? Or did he think he was back in "Dead Ringers" territory?

The Artist is full of homages to many other films. I suppose it will be fun for cinéastes to pick out the references, but not all of them – like the ones from "Citizen Kane" or "Sunset Boulevard" – are especially germane.

I would imagine that even those who line up for this film will be somewhat let down, if only because it's clear that most of the juicy stuff will arrive in Part 2 – which won't be released until next November.

Dislikable movie characters don't always result in dislikable movies but that's certainly the case with Sam Levinson's Another Happy Day, a dysfunctional family meltdown movie about an impending wedding that only grows more aggravating as it unwinds.

A jagged, uneven, often unfulfilling experience, but there are a few first-rate scenes between Joseph and Hannah that convincingly put forward the capacity for redemption in even the most ravaged of souls.