The way-too-neat ending of The Brave One especially strains credulity, but it's worth watching for Foster's fiercely arresting performance.

The extremely well-acted The Company Men ends on a hopeful note, but Wells examines the repercussions of a layoff-based economy with devastating precision.

Now this is how you do a female raunch comedy. Equal parts crass, heartfelt and goofy, Girls Trip manages to hit all the right notes.

A moving documentary about poetry inspired by combat.

A worthy addition to the growing canon of Holocaust documentaries.

This intriguing film is the best variation on "Vertigo" since Brian DePalma's far more polished "Obsession" (1976), which ranks with the best Hitchcock knockoffs of all time.

Introduces a new Ferrara -- sophisticated and restrained. It's a look that becomes him.

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.

The eloquent narration forSaint of 9/11 is delivered by Ian McKellen.

Smart, funny and good-looking animation.

Most of DC Comics’ dreadful movies deserve to be violently squished, but not Blue Beetle, a refreshingly spry new film featuring the lesser-loved, bug-shaped superhero who’s been crawling around in some form since 1939.

Eventually turns somber, with stark depiction of mass graves and suffering refugees. The final scene will break your heart.

Somewhat leisurely paced, by American standards, especially in the beginning, but it's well worth sticking around for the payoff.

Belgian actress Émilie Dequenne gives a smoldering performance as Jeanne.

The film takes awhile to get going -- the depiction of homophobic 1950s suburbia has a familiar feel. The movie hits its stride only when eyewitnesses to the events at the Stonewall tell their stories.

The story has been brought to the screen twice before (once by Tsui), but this version is the first in IMAX 3-D, which is the main reason to see it.

Not for all tastes, but it demonstrates Loach's skill as a poet of gritty semi-documentary filmmaking.

The Devil Wears Prada 2, the sequel to the 2006 comedy that’s not at all about Anna Wintour, is a good time, even if the high-pressure world of Vogue, er, Runway magazine is no longer the epitome of New York luxury and glamour it was back in the aughts.

Although envisioned before the world economy went to hell, Tokyo Sonata is relevant to the mess we're in now.

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.

A raunchy, endearing and often hilarious cross between “Back to the Future” and Reagan-era cheese-fests such as “Hot Dog: The Movie.”

Has no profound statements to make, but it does provide warm and fuzzy comfort.

The Way, Way Back is balanced, satisfying, wholesome. Dig in.

It's nice to see a love story that deals with mature people. We're not likely to get anything like it from Hollywood. So enjoy When the Sea Rises while you can.

The Siegels make the Kardashians and Donald Trump look like tasteful pikers when it comes to egregiously conspicuous consumption, sheer hubris and utter refusal to take responsibility for their actions.

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.

The Coens, so cutting to so many of their characters, are gentler with Llewyn, inviting us to wander and wonder along with him as he ponders why he must forever play the jerk.

There aren’t enough movies in which Tina Fey fires an AK-47 while grinning maniacally. Whiskey Tango Foxtrot turns out to make excellent use of her established skills while revealing new ones: It’s “30 Rock Me to the Casbah.”