Snoozy and unconvincing.

The documentary takes no sides, but its bleak message is all too clear.

Holy moly, Melissa Leo makes a scary Mother Superior.

Pace and mood are equally glum, and so much information is withheld that the twisty relationship can’t build much tension.

Ivo’s farmhouse looks leftover from another century, which gives a timeless feeling, as does the regal bearing of Ulfsak and the dry humor of the script. The film telegraphs its pacifist message early on, but it’s still deeply affecting.

What any of us wouldn’t give for a spontaneous night of rule breaking and lounge hopping with a genuine NY character, like Murray’s, again. Coppola’s funny and slyly emotional film, which should be cherished, is the closest we’ll get to that for a while.

Dickie is intense in her screen debut, which requires her to be in nearly every scene. The supporting cast is strong, and Robbie Ryan's handheld camera provides gritty ambiance for this taut thriller.

A gorgeously photographed and less intermittently fascinating 2 1/2-hour film.

It’s the most touching dramedy about young women battling over a sash since “Little Miss Sunshine.”

Doesn't quite live up to the promise of its opening sequence, but it's still an audacious offering during a season of brain-dead blockbusters.

On several levels, this film is a real-life horror story that puts most Hollywood movies to shame.

Classic shipboard romantic dramedy involving a condemned prisoner (William Powell) who hooks up with a dying woman (Kay Francis). Excellent support by Frank McHugh and Aline MacMahon as a pair of con artists. [31 Jan 2010, p.6]

Although the payoff is creepy, it takes a little too long to arrive -- and when it does, it's about as worn-out as the movie's title.

Watching “The Iron Claw” can feel like getting slammed with a metal folding chair over and over again. So bludgeoning are the true and tragic circumstances that befell the famous Von Erich wresting family during the 1980s and ’90s, which director Sean Durkin’s film depicts.

A scrumptious war movie.

Unusual and utterly disarming documentary.

It's clever, cool fun and it looks great.

A gorgeously photographed, sun-baked fable.

Gripping and thoughtful.

Its portrait of adolescence seems so authentic that it puts most Hollywood products to shame.

The visual effects are amazing, but they don't make up for acting that is restrained to an uninsightful fault.

What is Inland Empire - which Lynch is understandably distributing himself - about? What is it trying to say? If you figure that out, let me know.

South African director Gavin Hood (“X-Men Origins: Wolverine’’) pulls off some really tricky tonal shifts.

Kicks into high gear in its final 45 minutes, when the singer's fans descend on one of her concerts. It's worth the wait.

As someone who has never completed a crossword puzzle, I was surprised how engaged I was by Wordplay.

Like Father, Like Son has earned its right to reduce a person to a sobbing wreck.

Sometimes, it’s enough to walk out of a film with your heart warmed — even if your brain’s still craving a little something more.

Viewers in Gotham will be perplexed, frightened, disgusted - and, mostly, entertained.