Genuinely scary, exquisitely shot -- and very well-acted.

The film also drags a bit toward the end, but neither of these is a major flaw in a movie with more funny lines than in most of Allen’s movies these days — not to mention a saner, clearer moral perspective.

t's an exciting, well-directed thriller that, while providing more than enough action and gore to satisfy genre fans, also offers the political commentary that has characterized zombie movies going back at least as far as "Night of the Living Dead."

There is a strong emotional connection to Victor Hugo’s giant novel, which has been turned into a Broadway musical, movies and TV shows. This version remains a tale of downtrodden Parisians and dogged policemen who hound them. Only now we get 21st-century twists: teens with drone cameras, members of the Muslim Brotherhood and a Romani circus.

A rare case of an American remake that actually improves on a European movie.

Anderson, in her first major non-Scully film role, is lethally miscast.

Be warned: Some of the afflictions are so disturbing, you might have to turn your eyes from the children. Susan Tom doesn't have that option. And 11 children are all the better for it.

Includes insightful and often hilarious archival interviews with Langlois and dozens of associates, as well as wonderful footage of Langlois.

Huppert is, as usual, superb, proving yet again that she is the finest actress working in France today.

A rock bio minus the fun. The sex is guilt-stricken, the drugs are used to treat epilepsy, and the rock 'n' roll is about isolation and despair.

Julie Andrews, Dick Van Dyke and a host of other notables sing the praises of the estranged siblings, whose work is illustrated by copious film clips.

Now that’s how you do a 1980s film sequel.

Although lacking the gravitas and moral conundrums of Facebook-centric “The Social Network,” Johnson’s dweebish film turns every one of these tech breakthroughs into a stirring victory worthy of “We Are The Champions.”

Taylor also makes an impressive comeback as the conflicted daughter who instinctively distrusts Heather, but Starting Out in the Evening is first and foremost a triumph by Frank Langella.

Panahi, who defied a filmmaking ban from the Iranian government to make this, is a director always worth supporting.

A visually stunning film.

An intoxicating, heartbreaking Turkish-German drama that's already won a slew of awards from international film festivals.

A joyous, toe-tapping celebration of a musical style born of sorrow.

An intelligent, extremely well-acted thriller about a mother's endless love for her son.

A tad slow by American standards, but so extremely well-acted and emotionally truthful, it's right up there with "In the Mood for Love" as prime romantic fare for the Valentine's Day weekend.

Watching Thirteen is like spending an hour and a half with a poker-faced teen who's obviously unhappy but refuses to talk about what's wrong.

Intelligent, moving and often beautifully photographed, Aberdeen boasts superb performances.

A fantastically entertaining biography.

If the movie has a star, it may be cinematographer Oleg Mutu, the Romanian who lensed “The Death of Mr. Lazarescu” and “4 Months, 3 Weeks, 2 Days.” Even when the pace wanes, the images are still gripping.

To its credit, this remarkable film does not contrive a happy ending. Under the circumstances, even a mildly hopeful one seems like a triumph of the highest order.

The dialogue is so real that it makes you wince, then laugh.

Love, Antosha manages to be both a deeply sad farewell and a fascinating introduction.

The overwhelming silence is broken mainly by chanting and the ringing of the monastery bells. Call it life in the slow, slow, slow lane.