The climax errs on the side of the overwrought and overdetermined, like an earnest adolescent's first attempt at a short story. And yet Papoulia's extraordinary performance lingers, as does the film's provocative existential fog.

The picture coasts along quite nicely on the strength of its contemplative sensuality, its macaron colors, and the exquisite beauty of its three chief actresses, Léa Seydoux, Virginie Ledoyen and Diane Kruger. Oh, and there's nudity in it too, not to mention lesbian undertones – or are they overtones?

A sugary jumble of goofy voices, hyperkinetic action scenes and rote plot elements that rolls forward just enough to get us to the de rigueur pop song that plays over the closing credits.

The movie muddles to a rug-pulling ending that doesn't, despite its efforts, shed new light on what's come before.

With its small cast and focus on performance, Union Square promises to be a welcome showcase for Sorvino, and the early rhymes with Miss Linda are intriguingly open-ended.

Though it's a bit of an oddity, it's an affecting curio suitable for both Hardy enthusiasts and Winterbottom fans alike.

As sticky-sweet and textureless as a bowl of pudding, though an amused central performance from star Morgan Freeman continually finds nuance and the unexpected where there ultimately isn't any.

The writing is relaxed in the right places and heightened to a largely effective degree when it counts.

Stone's moralism, coupled with discreet but bloody beatings, shootouts and all manner of tawdry goings on, rings hollow. The picture is neither entertaining nor preachy – it is simply very loudly meh.

Crazy Eyes is the third directorial effort from Adam Sherman, and is, like his 2010 "Happiness Runs," based on his own personal experiences, suggesting he either has a staggering sense of self-laceration or a just as noteworthy lack of awareness about audience empathy.

Despite this careful (and successful) depiction of a warm and decent person, Perry the pop star remains stubbornly two-dimensional.

The latest from brothers Mark and Jay Duplass (who co-wrote and directed) seems to expose the limits of a certain kind of realism by stretching them one man-child too far.

Probably not as good as you hoped or as bad as you feared.

The success of this exuberant, affecting debut feature from director Benh Zeitlin depends on his ability to universalize the particular, in this case by drawing us into the perspective of a six-year-old girl living in squalor and feeling and uncertainty in the Louisiana bayou, then telling our own story from behind it.

With Tyler Perry gradually segueing toward non-drag leading man status with "Good Deeds" and the upcoming James Patterson thriller "Alex Cross," his latest appearance as the sassy, wisdom-dispensing matriarch of the title in Madea's Witness Protection has an aura of fatigued reluctance to it, as does the film itself.

The audience is never seen and only faintly heard. This puts a lot of visual pressure on a very inward performer. Young is a beast onstage, to be sure - he seems to re-grow an appendix for each song.

Take This Waltz is an unusually kind film about infidelity -- not because it sidesteps or shortchanges heartbreak, but because it doesn't let any one of its characters bear the full burden of blame.

One of the tricks of Ted -- perhaps its smartest one -- is that everyone, not just John, knows the bear can talk.

This is a straightforward family comedy-drama, a movie made for adults, and one that actually gives its actors – among them Chris Pine, Elizabeth Banks, Michelle Pfeiffer and Philip Baker Hall – something to do. That's more of a rarity on today's landscape than it should be.

The divide between Tatum as performer and Tatum as actor gives the film an interesting unsteadiness.

It doesn't take long for Bekmambetov to wear out his welcome with a laundry list of generic-looking action sequences: When you've seen one vampire get stabbed in the eyeball, you've seen 'em all.

The Invisible War might be best judged as a piece of activism, in which case it's already succeeding - after seeing the film in April, Secretary of Defense Leon Panetta took the responsibility for sexual assault investigations away from commanding officers and put them in the hands of higher-ranking officials.

My heart belongs to Bear Elinor, whose movements and mannerisms are a tender echo of Human Elinor's – her character is designed and drawn just that carefully.

Combines a deviously tragicomic take on the approaching annihilation of mankind with a irritatingly unconvincing and unnecessary love story.

To Rome with Love - rangy, vaguely ridiculous and trepidatiously optimistic - is Allen's film for tomorrow.

I was with the movie every step of the way, right until the final credits began rolling – at which point I realized that the whole thing made no sense whatsoever, and that none of my nagging questions about what the hell was going on would ever be answered. There's a distinction to be made between being a dupe and being had.

It's a mark of Shelton's ability to create living characters from seemingly minor shared moments -- the ones that wind up meaning everything.

An elegantly observed, sleekly packaged look at an artist whose career-long balance of enigma and self-exposure culminated in a 2010 retrospective at New York City's Museum of Modern Art.