The true star of this film, funny and often breathtakingly lovely, Zellweger carries virtually every scene in which she appears -- which aren't nearly as plentiful as one might like.

For me, Trixie finds its own peculiar groove, and-buoyed by a compulsively watchable actress-folds neatly into the off-center work of a distinctive American director.

Has a soundtrack crammed with infectious music gleaned from fairly surprising sources.

The Host gets bogged down in its “who’s kissing whom now?” dynamics, and it becomes all too easy to snicker at it.

There's not a single moment when you forget it's Weaver; she always seems to be inhabiting this poor character's soul for her own purposes.

A smart and somber little film with some decent performances and a few sharp observations about function and futility, but I can't help wishing that the picture, like it's characters, had not gone quite so gentle into that good night.

Fancher seems uninterested in developing real suspense, or incapable of it, at least until the end, when there's plenty of it, but artificially imposed.

A mixed bag, all in all (casting Huey Lewis was not the best idea), but worth seeing.

Streep delivers another of her chameleon-like transformations in appearance, accent, and manner.

Remind(s) us of the power of good old-fashioned character-driven movies.

What makes the film ultimately successful, though, is the outstanding comic talents that inhabit it, especially Zahn and Macy.

Intelligent thriller--turns-- into an embarrassing gothic horror show.

The film is simplicity itself.

Livingston is especially good at capturing Peter's passive rebelliousness, which suggests the suddenly uncooperative worker who defies employer logic in Herman Melville's "Bartleby."

When it counts, this film is absolutely successful.

Worth a look, even if it doesn't quite find the internal logic it seems to be searching for.

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

Basically a drama-in-disguise. Unfortunately, it’s a formulaic and extremely uneven one, albeit with a number of sympathetic performances.

Monuments certainly isn’t unbearable to watch, but for all its quality pedigree and good intentions, the result is a frustratingly flat film that drifts from moment to moment with a curious lack of urgency and an overbearing sense of self-importance.

Europa Report doesn’t entirely sell out to convention by the end, but the steps it takes to reach its noble conclusion reflect a lack of imagination and invention, especially for a film that initially seems to champion such qualities.

Frankly, Elysium is a bit of a liberal’s wet dream: the good guys want accessible healthcare, while the bad guys want to do away with undocumented immigrants.

Tusk is revolting, but that’s entirely the point of Kevin Smith’s admirably imaginative and utterly disgusting latest feature, a twisted fairy tale that trades on gross-out gags and visual shockers instead of actual story.

The Sapphires may be your stock triumph-over-adversity show-biz story – but then, how is it that we never get tired of seeing that story?

It pulls off the tricky feat of being both commanding and subtle, emerging with its dignity intact.

Like the back half of its namesake, Wonderstone isn’t terribly hip, edgy or new itself, just amusing enough to pass the time. While Scardino and friends do manage to end the film on an admirably nutty note, this gathering of comedic minds ultimately fails to produce any true movie magic.

A glimpse into how three different definitions of love can find themselves quietly at odds, the interactions between our three leads are always convincing if not always compelling.

Sometimes in life, simple pleasures can be rewarding, and that’s certainly the case here. Parker is not a particularly innovative film, but it’s no less effective for the blemish.

The bloodshed speaks volumes enough, though, even if it takes some time getting to the mayhem proper.