As North Korea undergoes a highly publicized change of leadership, The Front Line proves timely. In fact, one of the movie's army commanders looks like the north's new baby dictator, Kim Jong-un.

If you go to the movies to ogle topless young women, Simon is definitely for you. If, on the other hand, you want something more cerebral with your $10 ticket and overpriced snacks, stay clear of this Dutch melodrama.

On one hand, third installment is series of hilarious meditations on trials of being middle-aged woman, co-written by feminist goddess Emma Thompson, who gives self all best lines as deadpan OB-GYN.

Elvis & Nixon is the funniest Nixon movie since 1999’s forgotten “Dick.” That comedy was a Watergate-era fantasy, but as incredible as it seems, this one is based more or less directly on fact. A photograph of the meeting is the most requested image at the National Archives.

Merely a watery, poorly directed update of "Clueless."

Quirkily likable comedy-drama about a family trying to coping with loss, contains three of the best performances you're likely to see in an American movie this year.

On the whole, it’s a pitch-perfect love letter to “Ab Fab” devotees. As for newcomers? My advice: See it after a couple of Stolis, darling, and you’ll be just fine.

It's a shame that, after nearly 40 years of writing about rock, Cameron Crowe is receptive to the clichés of the genre.

Despite its excesses, Savage" is never unintentionally funny, just gritty and mean. The run time is more than two hours, yet it's also tight: no drag, no waste, no message.

For most adults, and kids raised on "South Park," the painfully earnest story won't hold much interest. And the comedy is tame.

The tone teeters between delicate and affected, and there’s only so much flitting around and soulful stares a movie can sustain before an audience starts wanting something more earthbound.

The striking Thierry brings her character to nuanced life on screen.

The Great Playwrights for Dummies series that began with "Shakespeare in Love" continues with Molière, a French clone of that grating and smarmy Best Picture winner.

Good enough to almost overlook a so-so ending.

A genuinely clever plot.

Features all too much footage of the scowling Burns, who has a narrower range than almost any actor working in Hollywood these days.

Unfortunately, you really only hear about prostitution from the side of the pimp.

Credit the disarming cast, especially Oshri Cohen as the boy and Arie Ellias as his eccentric grandfather. They help turn what could be a standard comedy into a life-affirming, enjoyable one.

Isn't a total loss, but neither does it have the charm of "The Full Monty" or other feel-good indie Brit flicks it emulates.

The Drama, for all its heat, is not perfect. I wasn’t won over by its climactic series of calamities that fall in rapid succession like dominoes at the end. However, most movies are completely forgotten by the time the credits roll. This one, like it or not, lingers for days. It’ll likely wind up one of the most controversial movies of the year.

It's mindless entertainment, so take it or leave it.

The film works best when we see N'Dour onstage. He has a great set of pipes and is nothing if not charismatic.

An interesting but flawed look at the birth of the French New Wave.

If you're looking for great action scenes, you've found them. But if you desire more than eye candy, such as character and plot development and historical accuracy, you'll have to look elsewhere.

By the movie’s end, the party guests may be ready to dance the hora — or they may find themselves sitting this one out. “Hava” will have its revenge, however: It’s still stuck in my head.

Savage yet spellbinding.

A disturbing and daring thriller with an exceptional performance by 13-year-old Laurien Van den Broeck.

Limitless may please a few looking for a shallow fantasy thriller, but won't fire up the synapses of the intellectually demanding.