Propulsive, hyper-violent and ridiculously exciting, Elite Squad: The Enemy Within can be described as "The Wire" transplanted to Rio de Janeiro.

The overriding point of Into the Abyss, what keeps this sad, sorrowful film from becoming depressing and elevates it far above the usual chatter of liberal-conservative debate, is that there can be light on the other end of even the darkest of tunnels.

All of Payne's films have been driven by the anger and frustration of his protagonists, but The Descendants is the first one in which sadness lurks behind every frame.

The movie fails utterly at coming up with a story that merits all the eye candy.

As much of a personal Scorsese picture as "Raging Bull" or "Taxi Driver." In some ways, this could be his most heartfelt movie.

The Muppets may have been born out of a desire to revive a dormant franchise that was once a cash cow, but there isn't a single beat in the film that feels crass or opportunistic. This one is from the heart.

If you're making a movie that purports to be about real love, at the very least, you have to make the audience care whether the lovers work out their problems.

Leave it to von Trier to conceive an intergalactic sci-fi metaphor for a psychological disorder – and then make it work so astonishingly well.

Part 1 does something that no other previous Twilight movie had achieved: This one draws you close and keeps you there.

A brazen stunt that pays off. Writer-director Michel Hazanavicius, simultaneously channeling "Singin' in the Rain" and "A Star is Born," tells a story about 1920s Hollywood made in the style of that era.

Jack and Jill contains long stretches of squirm-inducing tedium in which Sandler riffs and ad-libs far longer than he should.

This is Eastwood's "Brokeback Mountain," chased by a healthy serving of "J.F.K."- style paranoia and conspiracies (Oliver Stone is going to love this movie.) But because so much of what the film says about Hoover remains speculative and unproven, J. Edgar can't fully cross all its Ts.

Margin Call doesn't demonize its characters, nor does it absolve them of their sins. The movie simply shows, without judgment or anger, how our economic crisis came to be.

Still, this is one French comedy that could have used a little more hand wringing and a little less whimsy.

As it spins along at a reasonably good clip - no one is going to mistake it for the slicker, more action-packed "Salt" - The Double unravels its secrets, which prove to be its undoing.

The best thing about this mildly diverting but instantly forgettable comedy is that it seems to have awakened something in Murphy that had laid dormant for much of the past two decades.

By the end of the movie, when all your questions have been answered, you're left with the exhilarating high of having been manipulated by a gifted artist in a diabolically dark mood.

Even a supporting turn by Vincent Cassell as Otto Gross, a fellow psychiatrist, cocaine addict and unapologetic adulterer, fails to enliven the movie: A Dangerous Method makes even a cokehead hedonist boring.

The cast is impressive, and the story even soapier than "The Tudors," if you like that sort of thing.

A big, rambling, entertaining love letter to the late Hunter S. Thompson.

The movie - which caused walkouts and an uproar at Sundance - rewards your endurance with an utterly insane 30-minute climax of violence, audacious gore and all-around bad behavior (how this picture got an R rating is baffling).

Take Shelter is paced slowly and deliberately, which is necessary to make believable whatever is tormenting Curtis.

If you can overlook the lack of logic inherent in its central conceit, In Time makes for a fun, stylish piece of speculative sci-fi.

Like Roman Polanski's "Repulsion," Martha Marcy May Marlene gradually places us inside the mind of a woman who just might be insane, and in its audacious, terrifying final scene, the movie traps us there in perpetuity, refusing to provide the viewer with a way out. This time, the horror follows you home - no exit, no escape.

One of the chief pleasures of My Week with Marilyn - which should not be approached as anything other than fluffy entertainment - is watching Williams bring to life Monroe's inner demons and her movie-star allure with equal aplomb. By the time the film's book-ending closing musical number comes around (That Old Black Magic), the illusion is astounding and complete.

There is absolutely nothing in this prequel/remake that improves on the first film or negates it in any way. If you've never seen The Thing - and you really should - stick with the genuine 1982 article and skip this elaborate act of mimicry.

Depending on your age, Limelight could make you nostalgic for those bad old days - and sort of glad you'll never be able to relive them.

Circumstance, the story of the budding romance between two high school girls, is unlike any adolescent love story you've ever seen: This one takes place in Tehran.