If you're new to Kaurismaki, the film will make you a fan. If you've seen everything else he's ever done, the comedy will confirm your commitment.

It's the best role in years for Leoni, but You Kill Me really belongs to Kingsley, whose character's deadpan reactions to his new environment are priceless. He really kills.

A hilarious Parker Posey provides her customary blast of brittle energy in Price Check, an engaging corporate comedy.

Cornish, who hasn’t directed a film since the excellent 2011 teens-versus-aliens movie “Attack the Block,” has created a movie with the goofy charm of 1980s kids adventure flicks, such as “The Goonies” or “The NeverEnding Story.” It’s gentle — and almost completely bloodless.

A stinging and frightening indictment of mainland China.

A high point shows O'Day, in a black-and-white hat and form-fitting dress, singing "Sweet Georgia Brown" at the Newport Jazz Festival. That scene alone confirms O'Day's place among the greats.

Me and Orson Welles is, in effect, a sequel to Tim Robbins' star-filled, self-important film about "Cradle," but it's far lighter on its feet.

A worthwhile choice in a crowded marketplace.

Enlightening documentary.

A documentary in which George relates their stories with great charm and understanding.

Keeping logical track of all the comings and goings is like trying to focus on a single bird in a flock. The details, names and faces blur a little more every time a character rounds a corner, just as they would for the ailing Anthony. With its narrative boldness, however, The Father never stirs or fully satiates.

Luke Wilson, who has appeared in a long run of bad movies, seizes on his juiciest role since "The Royal Tenenbaums" here.

In the end, "Wilbur"' manages to look death square in the face and walk away laughing.

Admirable for venturing into very dark places rarely glimpsed in big-studio comedies.

The title of the overlong Fifty Dead Men Walking refers to lives saved by Sturgess' character, who is still in hiding years later.

McAdams gives one of the best performances of her career as her character wrestles with the enormous question of whether, and how, to give up everything she’s ever known.

I'm not sure why it took 50 years for Araya to reach New York, but let us be thankful to Milestone Films for giving life to this forgotten film.

Fightville, you had me at "gladiator school."

Covers three years in the Public Defender's office with a fast-paced, tabloid gusto.

Darci Picoult’s script renders all of these characters, if not always sympathetically, humanly and fully.

Overall, it’s engaging and serves its young audience well — a rare Holocaust movie that doesn’t strain to become Oscar bait.

Brilliantly playing doomed '50s sex bomb Marilyn Monroe, Michelle Williams gets under the skin of the troubled yet vulnerable icon in a way no one else ever has.

The movie is so heavily weighted toward the Simmons character that no one else really gets to breathe. And though McBride's shtick is brilliant - he could get rich by playing variations on this character for the next few years, and probably will.

If you ever wondered how robots make love, here's your chance to find out.

Emancipation, which is an otherwise well-tread period drama about the horrors of slavery, features more of Smith’s rich emotionality and laser-focused intensity that he’s uncovered late in his career and that won him the Oscar for last year’s “King Richard.”

Hollywood has been yukking it up over North Korea and its comical-looking leader for some years now. There’s nothing funny about either, and Mansky shows why.

Warm and charming and often witty, it's as good a romantic comedy as has come out for some time, with an endearing, perfectly pitched central performance that's a four-square triumph for Zellweger.

More than the story of a disillusioned old man, Lustre is a loving tribute to New York.