There’s charm and delight here, to be sure, but it is occasionally obscured by attempts to make it somehow darker, deeper, and more dramatic.

This is design work of the highest caliber and it is impossible to not enjoy simply watching these little buggers run around. It is unfortunate, however, that the creativity, originality and propulsive storytelling found in the original “Monsters Inc.” just didn’t matriculate with them.

I'm not sure how elaborately I could defend Pola X, but I loved watching it.

Starting small and building steadily, the movie reaps some fall-down funny laughs.

A fascinating combination of dare, stunt and genuine artistic risk -- often disorganized, but never less than entertaining.

I spent the bulk of Paradise Love mimicking Edvard Munch’s “The Scream.” It’s been a long time since I’ve seen such a disturbing film.

An imaginative and disturbing work; well worth a look.

It is thrilling to look at, and that's more than one can say for the majority of pictures out there.

It is one of the better dumbass sci-fi action movies to come down the pike in quite some time.

A dark, dreary and dull “Mad Max in Neutral” from director David Michôd (“Animal Kingdom”) that tries to pass off its blunt narrative and repetitiveness as some sort of style.

Altman is just as nastily misogynistic as ever.

Kate Hudson's accent is spot-on, and she brings her megawattage to good use on the Gershwin standard, "The Man I Love."

Director Gary Winick ("Sweet Nothing") ingeniously complements Draper's layered approach by modulating the film's energy in fascinating ways.

An occasionally powerful, always heartfelt drama.

A masterfully queasy blend of dark humor and darker humanity.

Lots of movies deal with friends and lovers of a certain age growing apart. But few can hear, as Thraves does, the sound of death chains rattling in the background.

The boy (Osment) has an uncanny ability to suggest Cole's secretive, haunted soul, and he seems to have inspired Willis to give perhaps his most self-effacing performance.

At its core is a feminine realm (the beauty parlor) through which modern issues of alienation and casual-sex-as-a-drug are coupled with timeless questions about the natures of love and desire.

(Herron) just doesn't make the case that this book was worth filming.

Gorris has beefed up the role of Natalia (Watson), with the end result that the film's emphasis is appropriately divided between the two characters in an emotionally satisfying way.

Abittersweet fable about the raw joys of human revival.

Grass is often closer to the sobering tone of the PBS show than it is to the silly "Weed," with its stoned, barely literate potheads discussing the quality of their dope.

Thoroughly artificial and overly schematic, to the point of caricature even, but often lively and witty nonetheless.

Nearly the perfect balance between straight-faced pulp action and amused wonder at the outlandish world of comic books.

Nymphomaniac Vol. 1 is the worst thing Lars Von Trier has ever associated himself with.

This is a film like no other this year, and on that grounds alone you should see it.

As he explains the male-male relationships and the absence of stigma or judgment, the film soars.

Gibson's performance is robbed of his customary humor, and he flounders around in search of the character's core.