The real mystery is this: Even if you find this guerrilla art project utterly fascinating, why would anyone bother to release an incomplete film about it?

Entertaining and informative, but it suffers from distracting voice-overs of what are supposed to be Madame Mao's thoughts. Too bad.

Slight but charming.

“A license to kill is also a license to not kill,” M lectures his new boss in the 24th James Bond film, Spectre. Well, it’s not a license to bore as much as this bloated drag manages to do.

De Palma fools around with split screens and slo-mo, but no amount of cinematic artifice can varnish over the fact that this is simply a bad film.

So lovingly and perceptively filmed that you can almost taste the desiccated air.

Has its moments, but overall it's depressing.

It would have been funnier at half that length.

Greenwald does nothing with the interviews, basically just posting them, one after the other, with the hope that viewers will do his job for him. The result is one-sided and bone-dry.

More than the story of a disillusioned old man, Lustre is a loving tribute to New York.

Kev Robertson's gritty camerawork and a musical soundtrack mixing hip-hop, punk and electronica add to the ambience of this impressive shoestring-budget indie.

As a one-time suburbanite now living happily in Manhattan, I can attest that Radiant City tells it like it is. The film ends with a surprise that you won't see coming and I won't spoil.

Overall, though, Paul Feig’s (“Spy”) reboot of the 1984 classic is a goofy, big-hearted romp.

A welcome change from horror movies like "Hostel' and "Saw" and their mind-numbing gore and violence.

Many diehards, in their slavish, zombie-like subservience to the MCU gods, will tell you that Sam Raimi (brilliant on the 2002 “Spider-Man”) has directed a horror movie. Lies! It’s as scary and visually arresting as “Van Helsing,” “Underworld” and “Hellboy 2.”

Lohan and Curtis are the main attractions, since “Freakier” functions mostly as a nostalgia trip for 30-something ticket-buyers who can now legally enjoy a margarita. But while massaging millennials, the movie also has a good time slinging mud at Gen Z.

An admirably realistic portrait of police life.

The film has all the incessant showiness that can make Greenaway irksome: split screens, CGI, deliberately alienating performances. But the man loves a beautiful shot and a witty line; those are the things that carry the film.

So this bourgeois-bohemian movie is, in a way, as serene in its obliviousness to the exterior world as its man-child subject. It's not essential, but it is endearing.

IF you ask me, Shane Acker's post-apocalyp tic animated film 9 is better than the live-ac tion flick "District 9." Beyond their similar titles, these sci-fi social commentaries are both expanded from shorts under the sponsorship of a world-class director.

It's a hodgepodge of subplots and wildly disparate tones that even Federico Fellini (to whose "Amarcord" Labaki also owes a debt) might have had trouble controlling.

A devastatingly straightforward chamber piece that goes straight to the heart of what this city was feeling in the days right after Sept. 11.

Commendably, Carrera steers clear of preachiness in his exploration of a timely and relevant issue, and Bernal's transformation from naive priest to tortured adulterer to hard-nosed careerist is riveting.

Seem to have spliced together two different concepts which, on paper, may have seemed complementary but wind up giving the film a schizophrenic feel.

Brutally funny documentary.

With so much junk cluttering movie houses, it is a shame that it took two years for this sweet, intelligent drama to get a release before heading for DVD.

Kill the Messenger tries to be the “JFK” of crack, but offers only shrill self-righteousness to answer the crazed energy of Oliver Stone’s masterpiece of deceit.

The sweet-faced Kelly is a lovely and humble storyteller, and her enduring affection for John, Paul, George and “Richie” is palpable.