It is not uplifting and only marginally inspiring — and even then only as an ode to the amount of pain the human heart can endure. But in the sensitive hands of writer-director Sean Durkin (“Martha Marcy May Marlene”), it is also a well-told, smartly crafted story that can stake a realistic claim to being one of the more moving and compelling sports dramas in recent memory.

Rust and Bone is somber and gritty if nothing else, a movie that takes itself very, very seriously, even as it struggles at times to find its focus.

Despite the occasional outbreak of tension, it all ends up becoming repetitive as Eye in the Sky gets bogged down in the morality of it all, spinning its wheels for long stretches.

As telegraphed by that inexplicably vanilla title, Domont’s film spends much of the previous two hours vacillating between unembraceable and downright boring.

What he ends up with is a film that boasts undeniably intriguing parts, but that -- unless you've just eaten some magic mushrooms of your own -- just doesn't gel as a whole, unified moviegoing experience.

Jordan manages to squeeze a decent amount of drama from the obligatory third-act showdown, but even then, his reach exceeds his grasp, with a display of misplaced arthouse ambition.

Local viewers will be tickled by the wealth of New Orleans details in the production. One of the best just might be in the film's music.

Killing of a Sacred Deer -- which most assuredly couldn't have sprung from the mind of any other filmmaker -- will deliver a moviegoing experience that is impossible to forget.

This is a movie to be experienced on a more visceral level. As long as you don't expect anything more, you won't be disappointed.

This is an affecting and emotional drama about the strength of the human spirit.

Michell's is a film with somewhere to go -- and that journey is one well worth taking.

The result is an often-screwball jaunt that isn't without its fun moments.

What we're left with is something sobering but searing, muscular but compassionate.

What you won't find amid the clashing cutlasses and flashing foils, however, is anything resembling a rapier wit.

It does double duty, working equally well as a superhero movie and as a teen comedy.

The end result feels like only half a movie. That half -- the technical half, with Wong's stylistic flourishes and the film's lush technical elements -- is a heck of a film. The rest of The Grandmaster, however -- the storytelling -- is anything but grand.

Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.

It's great, gruesome fun, a well-written and fantastically cast romp.

It is classless, it is tasteless, it is idiotic, it is juvenile and it is something your mother totally wouldn't approve of. But it also is flat-out hilarious, a go-for-broke comedy that not only is the best laugher released so far this summer, but one of the best so far this year.

In addition to being a fast-starting and smartly cast sports drama built around picture-perfect period flourishes, it's also a movie with an undeniably timely message to deliver.

I wouldn't expect many people to remember Cold in July come September, when the movie-award season gets underway. But as a guilty-pleasure May release? You could do far worse.

Only one of a number of recent immigrant tales to hit theaters, but with its blend of sweet humor and topical relevance, it's one of the more compelling -- and surprising -- in some time.

Straight Outta Compton doesn't shy entirely from the uglier side of the N.W.A. story, including the claims that their music and their lifestyles glorified thug life, perpetuated gun violence, advocated drug use and reveled in misogyny. Instead, Gray's film owns it.

Even if its stumbles a bit with its less-than-satisfying conclusion, the blend of humor, horror and grotesque whimsy on display throughout Tale of Tales combine to create what often feels like some sort of grown-up, far darker cousin to "The Princess Bride."

McGlynn's film clocks in at just a shade under two hours, which normally would be a little long for a documentary. In this case, the length not only is warranted but welcomed.

John C. Reilly provides the voice of Ralph, and he's every bit as good as you'd expect in the role. It's Sarah Silverman, however, as his unlikely sidekick, and rescue subject, whose considerable charm threatens to steal the show.

In ParaNorman, Butler, Fell and company have crafted a refreshingly enjoyable bit of family entertainment. In the process, they've also made the best animated film to hit theaters so far this year.

Even if something feels crazy -- whether it's falling in with a self-taught time-traveler, or buying into a charming but faintly flawed movie premise -- if you listen to your gut, wonderful things can happen.

What's more -- and here's where Abrams' brilliance is on full display -- you don't need to know a Class M planet from a hole in the ground to enjoy it all.

Yes, it is first and foremost a thorough chronicling of the Deepwater Horizon disaster, but its real value is in its function as an expose on the energy industry, which, with aid and abetting from the federal government, repeatedly places profit above all else, including environmental concerns and human safety.

Yes, it's a nature documentary, so it includes predatory behavior, but it's mercifully brief and generally tastefully photographed. Plus, it doesn't involve any of the film's main monkeys, so little hearts won't be broken.

It's not a film for everyone. Those who see it, however, will have trouble forgetting it.

So, while “Orion and the Dark” is on one hand a fun and briskly paced fantasy-adventure, it also functions nicely as a smart, thoughtful and often trippy exploration of existential dread.

An entirely fitting Christmas Day release -- filled as it is with magic and talk of miracles -- and easily one of the best films of 2011.

A movie that charms its way to being a kind of well-crafted teen touchstone that very well could become to today's generation what "Ferris Bueller" was to teens of the '80s.

The result is an artist profile that doesn't feel like the standard, stuffy artist profile. Instead, Beauty is Embarrassing is an entertaining whimsy that, like White, never takes itself too seriously, doesn't overstay its welcome and never, ever underestimates the value of a chuckle.

A big-budget crowd-pleaser that avoids the pitfall of taking itself too seriously, it is well-cast, well-crafted and just plain fun, an old-school spectacle that makes a compelling case for sitting in the dark with a hundred or more strangers and just enjoying the show.

The result is the kind of movie that can be counted on to put a smile on the face of even the casual Beatles fan. In other words: a good laugh.

It's easy to be interested in the characters' lives -- as tragic as they are -- but it's not nearly as easy to become emotionally invested in them.

Leisurely paced and plot-challenged, it's too unique and kindhearted to be outright disliked, but it's not the kind of film you can get too close to, either.

This is a self-contained story that stands nicely on its own. How novel.

Much of Sweet Virginia suggests a deep Coen brothers influence. But when it is pulled off as well as it is in Sweet Virginia, there's no shame in that.

For appreciators of fine acting, it's a film well worth seeing, as well as one worth toasting - if only with ginger ale.

His a wonderful, touching story, one that made me want to scoop up every kid I know who has a scrap of creative talent, and have them watch the film. Because Elmo's story is sweet -- but Clash's is nothing short of inspiring.

While Graham Moore's screenplay isn't without its flaws, it brilliantly weaves into the story a case that being different shouldn't necessarily be a negative thing. In fact, The Imitation Game argues in no uncertain terms that those differences can be something to celebrate, not to "cure."

This newer installment is every bit its predecessor's match as far as action goes. Where it exceeds it, however, is in the between-the-fights moments.

Granted, Luca might not go down as one of the more profound entries in the Pixar catalog. Don’t expect it to make you well up the same way Up or Toy Story 2 did. Still, at a time in which international travel is mostly for the bold, it’s an undeniably pleasant summertime trip.

A satisfying and briskly paced blend of creative carnage, strong visual effects and well-conceived action sequences.

Though the Coens have a way, as ever, with a crime yarn (even a truly goofy one), it's their ability to create eccentrically affecting characters - and to devise unusual fantasy sequences that work as large-scale sight gags - that makes this movie such a quirky pleasure. [6 March 1998, p.L30]

Where the original was a goofy, campy bit of stylized storytelling, Lowery's becomes a nicely realized, feel-good love song to fantasy and magic, buoyed by solid, updated visual effects, a strong cast (including two wonderful child actors) and a throwback sense of wide-eyed wonder.

The updated version of the familiar tale strikes a nice balance between humor, adventure and romance, making it a movie that will appeal to the whole family.

Ends up being foreign but familiar, artful and honest, as well as beautiful and believable.

There are movies based on real events that must be embellished in order to make them work on the big screen. Mel Gibson's World War II drama Hacksaw Ridge is not such a movie. In fact, it's the opposite.

Here's the crazy thing, though. Against all odds, it works.

In reality, in this age of cookie-cutter entertainment, the movie's success probably is because of Cody's unconventional script. This isn't a silly, disposable, rom-com -- and thank goodness for that.

If there's a complaint, it's that it flirts with rambling once the main case is solved -- nearly 20 minutes before the movie ends. But Fincher uses that remaining time to expand on Lisbeth's character, which is hard to hold against him.

Louis Malle's excellent new film "Damage" - the year's first "must-see" for serious movie-goers - ought to remind both critics and audiences of a number of things of which we tend to lose sight. First, while there are few if any "new" stories to tell, the old ones will do just fine if the filmmakers reconstitute them with insight and craftsmanship. Second, in the right hands pulp novels often make better movies than classics (remember "Gone With the Wind"?), if only because it's easier to add than to subtract layers of psychological texture. And third, even movies that seem to be "about" sex are interesting only if they're really about the people behind the acts - assuming, of course, that the people are worth the bother. [22 Jan 1993, p.L22]

Vinterberg's Far From the Madding Crowd is a lovely adaptation. What's more, it's downright entertaining.

Sleepwalk With Me is a decent film -- even if its not one that lingers.

It's an intriguing travelogue, showing parts of Iran that most of us could never see, or would never dare try to see, given that nasty "Death to America" thing.

His (Jonze) obvious affection for, and veneration of, Maurice Sendak's 1963 Caldecott Medal-winning children's book is palpable in his near-perfect live-action adaptation, a dreamy -- and, like Sendak's book, faintly nightmarish -- exploration of one child's tantrum-y side.

It also includes the elucidating, offering a rare glimpse at the architecture of Spinney's elaborate Big Bird costume.

To be clear: Despite the holiday flavor, and despite the pint-sized hero, this is no kids' movie. There is swearing. There is blood. There is an army of 180 very nude Santas coursing through the snow. That's not the kind of thing Frank Capra ever could have dreamed of -- and that change of pace is exactly what makes Rare Exports a rare, if unexpected, holiday treat.

Far more often than not, Lee's talented ensemble -- who really do look like they're having a blast together -- generate more laugh-out-loud moments than lulls, all of which help make Girls Trip work nicely as a mood-elevating mid-summer diversion.

And let's be honest: Hawking and Wilde's romance is lovely in its own way. But his scientific work? That's important. That's staggering. That's life-changing, not just for him, but for all of us. And The Theory of Everything? Despite that title, and despite those performances, it just doesn't feel like any of those things.

It's provocative stuff, and The Yes Men approach it with a wicked sense of humor.

Few of the film's secondary characters feel fully developed, with the possible exception of Nelsan Ellis' portrayal of Brown sidekick Bobby Byrd.

Just as key to the movie's impact are its well-acted scenes of heart-wrenching emotion, although some stray perilously close to melodrama.

An admirably full portrait of a film that reflects, with thrilling discomfort, the darker recesses of our minds.

That's the kind of movie this is, the kind that sticks with you, that prods you to examine things. In the process, it reveals itself to be something of an emotional roller coaster -- but one well worth riding.

Like Paddleton itself, Romano's performance isn't flashy. It isn't dripping with self-awareness or desperation. Rather, it's quietly, subtly beautiful. And it deserves to be seen.

So here's what moviegoers can trust from the Russo's Captain America: Winter Solider: They can trust it to be a brisk ride. They can trust it to be entertaining. They can expect it to be suspenseful.

There's plenty of melodrama, plenty of whispered intensity, plenty of dramatic pauses in his story. There also are a few bizarro -- and, in some cases, unnecessary -- detours. But when it's all said and done, there's no real call for any emotional investment on the part of his audience.

Pure cinematic fluff, the kind of film that tends to evaporate within a few hours of seeing it. That being said, Manville is so charming, and the rest of Fabian’s film is so well meaning, and so well realized, that by the time it hits its inevitable third-act moment, it’s hard not to be swept up by the joy of it all.

These women deserve to have their voices heard, and this film finally lets them have their say.

Brilliant in its simplicity, as he turns the floor over to the three masters with this simple instruction: The guitar. Discuss.

It's a decent comedy, mind you, one with its fair share of chuckles. But it's really more amusing than it is fall-out-of-your-seat funny.

Dragon is guilty of simplifying the raw material of Lee's life for melodramatic as well as martial-arts purposes - and isn't always convincing in the process. Still, headliner Jason Scott Lee does a fine job of suggesting the charisma, grace and sheer explosive force of Bruce Lee's personality, as well as his drive to master self-awareness as well as self-defense. [11 May 1993, p.D7]

Never Let Me Go isn't the kind of movie you talk about on the drive home -- it's even better. It's the kind that makes you sit quietly and think, rolling it around in your head and considering the angles.

The result is a deliriously watchable and darkly comic portrait of a high-velocity death spiral.

The magic is back at Pixar.

"Down" is in many respects a quite modest achievement. While several of his characters are colorful enough to elicit laughs (the sweet but bland hero, I'm afraid, isn't one of them), Breathnach takes a perilously long time to generate narrative excitement and delivers only a pint-sized dramatic payoff. [3 July 1998, p.L27]

Ali and Mortensen are both fantastic in their respective roles. Every bit as important is the surprisingly charming script, which uses humor to soften its touchy subject matter.

Lucas Hedges is terrific in the lead role of a sneaky movie that, rather than preaching and shouting, becomes something uplifting, something hopeful, something moving and something important.

They're fascinating characters, to be sure, with back stories ripe for development. But Whedon doesn't commit here, and the results are shrug-worthy.

This is a world where training wheels are called "stabilizers" and where children leave something called "mince pies" for Santa. (Um. Ew?) As a result, the occasional line will fly over your little ones' heads. But you can also expect for them to be charmed by it all.

As strong as that cast and those visuals are, however, they don't quite add up enough to guarantee a happily-ever-after for moviegoers looking for a memorable in-theater experience.

Oddly, though, Everyday Sunshine ends up being a mostly optimistic tale. That's because, despite it all, Fishbone is still gigging.

It's not that Climax is a poorly made movie. It's that it's an abjectly mean movie. Some would try to excuse it as arthouse cinema. In reality, it's frighthouse cinema. And that's not meant as a compliment. The ultimate message, at least in this case: Just say no -- to Noé.

The Birth of a Nation is ultimately involving as a cinematic history lesson. It is its flashes of modern relevance, however, in which it scores most effectively.

Don't get me wrong: Gyllenhaal is a great actor, one who exhibits a rare blend of strength and pathos. But not even he can elevate that kind of lazy writing.

There are moments when the freak-show elements of the film threaten to overpower its message, but that message is such a fascinating one -- and the debate an important one as well -- that The Elephant in the Living Room manages to overcome them.

There's not much meat to the story. So while the picture on the menu suggests filet mignon, we really get mostly fish-and-chips stuff.

Formally, Berg's film is at its root a police procedural, albeit an exceptionally well-executed one.

It all adds up to a film that is at times interesting, and at times funny in spite of itself. But more than all that, it exudes a sense of heart-rending, chest-penetrating sadness.

Without a doubt, stupid, but it's willfully stupid, built in the comic style of "The Hangover" and "Due Date." Better yet, it also is genuinely funny, which is the point.

The result is a movie that is about as riveting as -- well, as your average Robert Novak column.

Without Hardy, The Drop would be in danger of becoming just another crime drama. With him, though, it's something else entirely -- something alive, tightly wound and irresistible.