The 25-year-old filmmaker takes no sides himself. Wisely, he allows folks of all opinions to put their feet in their mouths all by themselves.

The many silences in Hide Your Smiling Faces don’t speak quite loudly enough, and the film ultimately gets bogged down by its own ponderousness.

The posthumous campaign to polish Michael Jackson's tarnished reputation continues apace with this Spike Lee infomercial, commissioned by Sony and the money-grubbing Jackson estate to promote the 25th anniversary of his 1987 album "Bad.''

Reijn’s film, which was written by Sarah DeLappe and Kristen Roupenian, succeeds in making a young basement horror movie for today. And, as least year’s “Scream” reboot showed us, it’s a genre that’s been stuck for far too long in 1996.

Joshua falls a bit flat at the end, but overall it delivers some genuine old-school chills - something that was missing when Macaulay Culkin played a similar role in "The Good Son."

If the plot becomes a bit scattered in its third act, a generous interpretation might be that it’s a reflection of the chaotic cultural backdrop. Chon directs with style and a humane eye for all parties; he’s a dynamic young director to keep your eye on.

There is something both mischievous and moving about a world-famous director who, closing on his 10th decade, designs a movie that celebrates his actors: their varying ages, their versatility, their heart.

An extraordinary woman like Eva Kor deserves a less ordinary biography.

Octubre has the feel of something Jim Jarmusch might have made in his early years -- lots of dark humor that you'll think of in the middle of the night, and laugh about.

Plot and dialogue take a back seat to a series of inventive sight gags that unspool with effortless charm. An ensemble cast of talented amateurs is in top form.

Overall, The Last September is a real snooze.

Despite inadequate editing and overreliance on bad background music, The Girl Next Door doesn't disappoint.

Infused with the hazy golden glow of nostalgia and unfolds at a leisurely pace, reminiscent of "The Virgin Suicides."

Alternately fascinating and frustrating.

This film is best when arguing that drugs should be treated as a multibillion-dollar commodity business in need of regulation, and not as a moral failing.

With great power comes the responsibility to make a decent movie, but the mysterious force running through Chronicle is the power to supersuck.

Ho-ho-huh? Arthur Christmas is an animated kiddie comedy that delivers all the wonder you'd expect in a movie about a guy delivering one package. Maybe they should have called it "UPS Man: The Movie."

James Rasin's documentary is surprisingly the first to focus on one of Warhol's biggest attractions, the attractive male-to-female transsexual Candy Darling, best known for inspiring Lou Reed's song "A Walk on the Wild Side."

The presentation is conventional in style but uplifting in spirit, and worth seeing even if you know nothing about basketball.

Stephen Sondheim’s stage classic Into the Woods, a dark and subversive musical take on fairy tales, not only survives but triumphs in the composer’s most unlikely collaboration with Disney.

Weirder and more contemplative than many of its time-traveling brethren, Predestination is a stylish head trip. It also marks Australian actor Snook as one to watch, as she demonstrates some serious gender-bending range.

It's shocking only in its banality, impotence and utter lack of heat.

While the slow buildup won't bowl 'em over at suburban multiplexes, the film should please Fessenden's loyal followers and win him new ones.

Fortunately, Chicken With Plums does have its pleasures, including Isabella Rossellini as the silkily jaded mother.

Trying to understand the story can make you feel like you’re sitting on a stool in a dunce cap.

Generally delightful, and reminiscent of two vanished ages: when men were men, and when movies were movies.

Far more interesting and intelligent than anything coming out of the studios. It fairly brims with superb performances by a terrific cast - you simply can't take your eyes off the female leads, Edie Falco and Angela Bassett.

It's highly entertaining, even if it's almost entirely one-sided.