Set on the seamy side of Barcelona, Biutiful may not be a feel-good movie for this time of year, but it's well worth your time.

As for Baron Cohen, he's a great comic but his acting can still use work - most of his funniest lines appear to have been dubbed over other actors' reaction shots in post-production.

Revenge is a dish best served with bullets, high explosives and giant rolling flameballs. In Quantum of Solace, James Bond orders the revenge buffet, deluxe.

There’s a lot going on here, but Washington’s complex, emotionally turbulent performance makes it all work.

While an iconic figure in France, Gainsbourg isn't a household name here in the States. But that shouldn't stop audiences from enjoying Sfar's good-looking, fanciful film.

You need a scorecard to keep track of who's bedding whom in Happily Ever After, a tres French take on sex and love, in that order.

Certainly watchable, but don’t go expecting much in the way of surprises.

For the most part, the film is second-rate horror, but watchable enough.

I can't remember ever seeing such a spectacular implosion of a squad of all-stars as Rise of the Guardians. Well, not since Yankee Stadium in October.

At the film’s most entertaining heights, it recalls the novels of Ray Bradbury and the Matt Damon flick “The Martian.” But its final twist is an extremely implausible, easy way out.

The film failed to be frightening, suspenseful or dramatic but accidentally succeeded in being absolutely hilarious.

Boasts a lovable ensemble cast, with a standout performance by Zaira Valenzuela as 14-year-old Paola.

Contains all the clichés of the post-prison genre -- but it has some redeeming qualities.

Tepid tale of star-crossed lovers in 1910 Wales.

No light leavens the ashen wash of writer-director Tim Blake Nelson's relentlessly downbeat Holocaust drama The Grey Zone. None.

With uncommon ineptitude even by the standards of contemporary action flicks, Kyle's script submerges the inherently dramatic tale of the K-19 under a pile of clichés, while failing to tell you enough about the characters for their actions to make much sense.

There's not much new in this Filipino film by longtime director Gil M. Portes. But it's so endearing that only a grouch wouldn't be charmed.

This furious finger-pointer's doc is so one-sided, it undermines its own integrity.

A crass, heavy- handed and -- most unforgivably -- largely laugh-free adaptation of The Master's infrequently revived 1924 comic melodrama.

Michael Berry’s Frontera offers an unsparing look at the plight of illegal immigrants, even if the ending seems too patly convenient.

Rarely has a documentary been so pleased with itself - with so little justification.

The best compensation for sitting through this silliness is Alice Taglioni as the primary cop.

The reason Waititi’s films (yes, even “Thor: Ragnarok”) are so resonant is that they’ve always placed love and humanism at the heart of their humor. “Jojo,” despite going to some very dark places for its laughs, is no exception.

A decent football movie, just about good enough to be the 40th best episode of "Friday Night Lights" . . . which has aired 39 episodes.

Dispenses with much of the caramel gooeyness of the first two episodes in favor of decent action, some heartfelt tender moments and even a splash of wit. This time they’re actually Twi-ing.

The simple, highly effective gimmick of this straightforward shocker is a malevolent clawed spectre named Diana (Alicia Vela-Bailey), who only appears in the dark.

The Woman is disturbing, lurid and perverse, but that isn't necessarily bad: Horror buffs, especially fans of Ketchum, will be overcome with joy and excitement.

Some of the acting feels cardboard; the plot points are never shocking. Eastwood’s love interest is about four decades his junior. And yet, the director casts a Zen cowboy spell that makes it all sort of irresistible.