A joyful celebration of Louisiana music in all its permutations.

A slick, sweet, fast-paced, feel-good romantic fantasy that's fairly irresistible if you can keep your cynicism in check for a couple of hours.

A mix of documentary and fiction, it demystifies the profession in delightful fashion.

May well be the dullest and most pointless version ever filmed, thanks to a stunningly bad lead performance by Ethan Hawke.

A great movie, period. It's great because it's so real.

Preteen sexuality is a sensitive subject, but director Auraeus Solito handles it with dignity, never becoming exploitative.

The movie is an entertaining stroll through a colorful gallery of characters including, in villain mode, former Metropolitan Museum of Art director Thomas Hoving. "She knows nothing. I am an expert," huffs Hoving, who is so nasty he might as well be wearing a monocle - making Horton that much more fun to root for.

A thoughtful and intelligent film, and should appeal to adventurous souls.

The Last Circus features garish costumes, grotesque ultraviolence and plenty of other assorted weirdness. Although not everybody's glass of sangria, it has the making of a cult hit.

The Pruitt-Igoe Myth doesn't offer easy conclusions.

The facts (including Protess’ eventual resignation) still make this a worthwhile examination of a narrative that actually may have been too good to be true.

This comedy soars squarely on small moments and big jokes.

By the end, we wind up pretty much where we were four years ago when the pictures first appeared in the papers: Inexperienced troops did disgusting things, but it's a mystery who else knew.

Watching this movie is like listening to Michael Jackson tell you what real men are like.

Roy Cohn was way more entertaining than the new documentary about Roy Cohn.

On paper, Ushpizin (Aramaic for "holy guests") looks like a hard sell. It works, however, thanks to a witty script and believable performances from real-life husband and wife.

In the end, The Walk finds a graceful way to pay tribute not only to Petit’s bravery and determination — but to the thousands lost on 9/11 in the buildings this daredevil loved so much.

Schmaltzy and contrived.

The heart of Dior and I is with these seamstresses and cutters, artists in their own right.

It is one that sweeps you up, though, in its beautifully detailed vision of an analog New York where stars eat at greasy spoons below 14th and future music legends pass the hat in basement clubs. Scrounging for their next meal.

What the film lacks in plot twists it makes up for in sheer amazement.

The last half hour devoted to the Big Game, staged by a crew from NFL films, is genuinely rousing and inspiring. That's where Friday Night Lights finally shines.

Smooth as fresh asphalt, the film makes us pine for a pothole or two.

So joyous it can actually shake viewers out of a bad mood.

Some wonderful films have come out of Iran in the past few years, but A Moment of Innocence, by highly regarded director Mohsen Makhmalbaf, is too smug and too self-indulgent to count as one of them.

A compelling and beautifully photographed documentary.

Makes "Training Day" -- which was admittedly pretty tough -- seem like a Disney cartoon by comparison.

An affectionate, often clever and unflaggingly funny satire.