A nice counterpoint is the soundtrack, with psychedelic trip music and bottleneck blues by noted wild-ass guitarist Elliott Sharp. It’s good to hear people talking about openheartedness without irony.

This sensational documentary, which follows German avant-garde musician Alexander Hacke around the city with his mobile recording studio, crosses all kinds of bridges.

(Herzog's) tribute to Kinski doubles as a life-affirming monument to creation in all its variety.

Temple doesn't just highlight the contemporary relevance of Coleridge's liberated words and themes, he shows us how high they still soar.

Demme (Monument Ave.) brings a sure hand with pace and structure to the soft-at-heart script by Robert Ramsey and Matthew Stone, allowing Murphy, Lawrence and company to sit back and focus on the job at hand -- making us laugh.

The film is shocking, and, for better or worse, Portillo's refusal to offer solace kindles a potent rage that's not easily forgotten.

There is so much to admire and empathize with in Stephanie Daley that it feels almost boorish to quibble about whether the film needs to come packaged as a murder mystery.

Yes, this is another faux rock documentary, but one so dramatically and visually textured that it reinvents that decidedly worn genre.

A beautifully off-center movie.

Twohy moves effortlessly between conventions of the sub and horror genres, with long tracking shots and masterful sound design, shock cuts and mismatched mirrors and reflections.

Sarandon's motherly sexiness is appealing, but it's Hawn, in a warm and deep performance as the hapless but free-spirited Suzette, who walks away with the movie.

A smart, romantic, heartbreaking pleasure.

First-time feature directors Mark Neveldine and Brian Taylor play with speed and sound to effectively recreate the buzz of an over-caffeinated all-nighter, delivering one of the year’s best pure junk-food entertainments.

Taut and well-acted, faltering only when the filmmaker loses faith in the power of his story.

Ultimately a triumph of redemptive ideas that DiCaprio ­-- God bless his celebrity -- may finally succeed in transporting from the environmental fringe to the mainstream moviegoing audience.

At once playful and thorough, the documentary is also stacked teased-hair high with wicked performance footage.

An entertaining tour of this endearing, infuriating absolutist's life and legacy, guided by talking heads more pro than con, prominent among them the former Nader's Raiders who split over their leader's disastrous insistence that there was no difference worth talking about between Democrats and Republicans, yet retain enormous affection for his wit, integrity and incorruptible sense of mission.

Exchanges overheard in bars, crisp dialogue between characters and a wistful tone underscore both modern isolation and the age-old need for connection.

It's not easy to spend the better part of two hours with your heart parked in your mouth, but this roaring battle epic is worth the risk of your palpitations.

Beautifully acted film remains deeply intelligent and always fascinating.

Profound and joyously silly at the same time.

Hartnett's pitch-perfect sexual panic can be hilariously funny.

A melancholy valentine to broken hearts and lost innocence.

The five interwoven narratives in this visceral but disciplined and beautifully acted movie show to devastating effect how ordinary men and women -- and especially vulnerable boys desperate for masculine role models -- get caught up in the seductive violence and are ruthlessly destroyed by the network's hardened henchmen.

Writer-director Alex de la Iglesia's bouncy, swaggering satire of ethics-deficient, survival-of-the-fittest free enterprise, peopled by broad grotesques and hysterical caricatures, adds Chabrolian callousness to a cartoonish worldview reminiscent of Frank Tashlin or Joe Dante at their most frenzied.

Turns out to be that rarest of Hollywood creatures: a sequel that one-ups the original…These two smart, happy movie stars prove that silliness doesn’t have to be moronic.

Not only are the action sequences well-paced and witty, but Gray neatly draws out the comic high spirits in Wahlberg's ensemble of crooks.

A very good new Dogme by Danish director Susanne Bier, begins with several lives in excellent working order, and proceeds by way of domestic tragedy to a full-court emotional train wreck.