A terrific work of political and social satire set in a Nebraska high school that has the intelligence of (the less coherent) "Rushmore," while painting a much darker picture of politics and human relationships.

This demanding puzzle is not for the "Chocolat" crowd, but those who stay with it will experience perhaps the most dazzling film released so far this year - even though a second viewing is virtually mandatory.

One of the year’s warmest and most crowd-pleasing surprises.

This weekend, forget "Jarhead" - two hours of guys playing grab-ass in the shower and no chicks. If you're lucky, you can con your girlfriend into seeing Pride & Prejudice.

Like a dedicated teacher, this is a film that stays with you.

A sublime meditation that is one of this year's wisest, warmest and funniest films.

Thoughtful and entertaining documentary.

Brazilian director Anna Muylaert’s deft, funny film is set in São Paulo, but the class distinctions shown have no borders.

Anchored by the performance of Shu Qi, who has come a long way from her days as a nudie pin-up. She's a first-rate actress.

The complexity might require a second viewing, but there is compensation in the realistic acting by a cast of non-pros and the eye-grabbing, hand-held lensing by Boaz Yehonatan Yacov.

Like all great movies, 127 Hours takes us on a memorable journey. Which is not easy when 90 percent of the movie takes place with a virtually immobile hero in a very cramped setting.

The story becomes so convoluted and contrived that much of the tension dissipates.

Since this low-grade comedy doesn't really even attempt to be funny, the purpose of the movie is to establish (or reinforce) a feeling of luxurious old-timey melancholy.

The image that sticks with you here is a smoky pub where the patrons are singing "You Belong to Me.''

The End of the Tour is a five-day bender of a talk — a film that illuminates like few others the singular pleasure of shared discovery of one another’s sensibility. In an unassuming way, it’s a glory.

The story is fascinating, infuriating and even laugh-out-loud funny at times.

Loving but overlong meditation on movies and the people who make them.

Apologies to Charlton Heston loyalists, but War for the Planet of the Apes is a good example of how today’s movies sometimes beat the hell out of the oldies.

A pleasing fable reminiscent of G-rated nature movies of the '60s and '70s, before kiddie cinema required CGI or hip cultural references.

Deadly serious about its message: that the West is just as vicious and corrupt as Africa.

Larson shines as an adult staffer assigned to keep these self-destructive kids safe while they work with therapists.

Solid entertainment value for the money, but those who think it's saying anything new or profound are kidding themselves.

Algenis Perez Soto was a baseball player in real life, which helps to explain his sensitive, understated performance as Sugar. But he's let down by a manipulative script recycled from dozens of sports and immigrant movies. At least it dispenses with a Hollywood ending.

First-time director Jeff Malmberg tells Hogancamp's fascinating story with sensitivity, never resorting to exploitation.

We may not need another IRA movie, but even so, Ken Loach's Brit-bashing historical drama The Wind That Shakes the Barley, winner of the top prize at Cannes last year, raises hard questions about Ireland's uncanny ability to kneecap itself.

Loaded with dazzling ideas that don’t ultimately pull together.

A thrillingly vicarious experience that answers a primal urge to join our feathered friends as they soar and glide in the blue beyond.

With its dry wit and all-star household, Baumbach's movie resembles Wes Anderson's "The Royal Tenenbaums" without the heavy whimsy.