The well-acted, pleasantly lensed drama doesn't recall Hollywood's generic approach to fragile couples, and that's just fine with me.

Legendary is an overworked adjective, but surely it applies to Jack Cardiff, the British cinematographer whose awe-inspiring resume includes some of the most beautiful Technicolor films ever shot, among them "The Red Shoes," "Black Narcissus" and "Stairway to Heaven."

Vincent Lindon, one of France's leading actors, is super as Marc, a man on a downward spiral into insanity. And Emmanuelle Devos is comforting as Marc's loving wife.

Suffers even more than the Harry Potter films from a compulsion to be faithful to the source material, including cramming in a head-spinning assortment of characters and subplots.

The final twist is completely unexpected.

The movie is strangely demure in its attempts to be wild.

A cinematic enchantment, a low-key 1970s-style kids’ movie brimming with sincerity and heart. It’s one of the best films of the year.

The plot doesn’t entirely escape formula, and the ending is jagged and forced, unable to commit to either hope or gloom. But for at least part of its length, My Brother the Devil brings refreshing changes to a genre badly in need of them.

A comedy as black as the asphalt desert of a mall parking lot.

Hilariously overblown, "Cruelty" fairly pops at the seams with the beloved eccentricity of Joel and Ethan Coen, from the fiendishly ludicrous scenarios and casually tossed off visual gags to the razor-sharp repartee.

No "Girl on the Bridge," but this comic thriller does generate a fair amount of erotic tension and sly commentary on psychoanalysis.

Each scene stumbles onto a detail of inspired absurdity or a crunchy bite of dialogue that encapsulates Chinaski's weird flavor of self-destruction.

Basically a mega-budget war movie that makes fun of mega-budget war movies.

Dialogue is sparse in this leisurely paced chase; instead, the bluesy vocals of indigenous singer Archie Roach -- singing de Heer's lyrics -- are layered over the action as a kind of musical narration.

I cannot tell a lie. I derive great satisfaction watching John Malkovich act.

Koch ends with the former mayor showing off a typically flamboyant gesture that embodies his contradictions - choosing to be buried in a Christian cemetery in his beloved Manhattan, complete with an already erected tombstone proclaiming his Jewish identity.

Frankel has a fine eye for telling detail, and the result, while sentimental, is as irresistible as the dessert cart.

It’s the gargantuan and deeply satisfying Spider-Man: No Way Home in which the former Billy Elliot proves he’s more than a teen idol with a perfect American accent. This time, his Peter’s got gravitas, emotional oomph, brutality, believable love, an anguished scene in the rain! The movie is the actor’s best performance yet, in anything, Spandex or no.

The climactic scene, in both story concept and design, is too complicated and peculiar for my tastes. But until that short blip, co-directors Phil Johnston and Rich Moore’s (“Zootopia”) film is supremely intelligent, and Reilly and Silverman once again give deep-feeling vocal performances.

Unfortunately for the film, it's clear from the outset this is a totally one-sided battle that well-connected developer Bruce Ratner is fated to win.

Mozart's Sister had a much smaller budget than "Amadeus," but Féret makes good use of his resources, even getting to film in the splendid halls of Versailles. The cast is excellent, be they relatives of the director or not. And the music, though not by a Mozart, is beautiful.

In short, Red Eye hits the bull's-eye.

The misleading documentary Trumbo paints a golden nimbus of holiness around the onetime highest-paid screenwriter in Hollywood, Dalton Trumbo, an on-the-record hater of democracy, defender of authoritarian rule and avowed Communist.

Delightful performances are delivered by all in this ingenious work of cinema that is worth seeing if only for its glorious views of the Himalayas.

The release of Crossing the Line couldn't be more timely. Earlier this week, it was announced that the two Koreas would hold a summit this month in Pyongyang. Perhaps Kim will bring Dresnok with him.

Lush and poetic, Dolls proves once again that Kitano is one of the world's most original filmmakers.

Intelligent, well-acted movie.

While clearly on the side of the protesters, the filmmakers are still determined to explain every legal detail, and at times matters become bogged down in endless televised journalists and snappish legislators.