Ma is a much more enjoyable ride than the even more preposterous “Greta,” which got lost in undeserved self-seriousness.

The Spandau Ballet documentary Soul Boys of the Western World has all the kooky clothes, zippy songs and ’80s optimism you could ask for in a film about a group that had only one big US hit (but several in the UK). Why do I find it hard to write the next line? The band wasn’t that great.

Unpretentious and often witty, it's emotional punch is weakened by spotty performances, especially from Karin Viard in the lead role.

Somnolent, draggy but occasionally warm-hearted.

Europe’s immigration dilemma was also the focus of Aki Kaurismaki’s winsome “Le Havre,” and the Africans themselves were front and center in Moussa Touré’s “La Pirogue.” This film is somewhat less effective; Crialese’s message seems to take priority over a deeper sense of individuals.

Provides a different take on its subject than many of us are accustomed to: Nelson Mandela is no Martin Luther King Jr., and he was far more radical than even Malcolm X. If you’re under the impression that his ideas got him imprisoned for 25 years, think again: It was his bombs.

The cinematic equivalent of meat loaf -- comfort food that's reassuring in its utter lack of sophistication and surprises.

Destined to enchant the slumber parties.

This movie’s got as many cliches as Madison’s got cheese curds. But script aside, Jackman and Hudson onstage are effervescent and, speaking as someone who’s never mounted a motorcycle, the songs rock.

No "Girl on the Bridge," but this comic thriller does generate a fair amount of erotic tension and sly commentary on psychoanalysis.

Patel has his most rewarding role since “Slumdog.’’

It's funnier than "Bedazzled," which isn't saying much.

Lola Versus, like Lena Dunham's show "Girls," brings an indie perspective and cast to this mainstream genre. In the more limited medium of film, this is a mixed bag.

A must for Jaglom fans. For other viewers, it will depend upon how much they can take of Jaglom's improvisational style and Frederick's over-the-top, tear-filled acting.

The originality and intelligence that made Smith's "Clerks" and "Chasing Amy" such refreshing pleasures are all but absent.

Under writer-producer-director-editor Patrick Hughes, the suspense level is high and the action constant.

A charming if overlong romantic comedy.

Harmless, if slightly hyperactive, fun.

Technically, the film isn’t terribly exciting: talking heads interspersed with shots of young people making their symbolic “leap of faith” from the walls. But the directors have chosen eloquent interviewees, and the passionate attachment they feel for their city gives the film heart.

The story doesn't break any new ground, but the movie has energy.

Fonda is a hoot and a half.

Suggestion: When making a film called Run Fat Boy Run, how about hiring a fat boy?

A supernatural take on "Death Wish" meets "Faust," Heartless is an uneasy mixture of B-movie shocks, social commentary and sentimentality that shows a potent imagination at work.

Should entertain less jaded youngsters.

It’s got something for everybody — toplessness, threesomes, dildos, ball gags, S&M and, of course, art-world satire.

Before the slightly surreal (self-consciously so) climax, there are some fine set pieces, including a disastrous dinner party that amply showcases Rivette's wonderfully light directorial touch.

Despite its treacly sentimentality, predictability and gutless evasiveness about the power of the church in 1950s Ireland, Evelyn manages to be an enjoyable piece of family entertainment.

an overstuffed, overlong epic with a tongue-in-cheek approach.