Chicago 10 has interesting moments, but basically it's a teaser for Steven Spielberg's upcoming feature on the trial.

The episodic film makes valid points about the depersonalization of modern life. But the characters tend to be clichés whose lives are never fully explored.

Hrebejik directs with a sure hand, deftly balancing comedy and drama in a most involving and satisfying manner.

Smart, funny and good-looking animation.

An overstuffed menu from a master chef who's trying way too hard to please himself.

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

When a movie wades into the vast pool of World War II and Holocaust titles, the viewer expects a splash. One Life is, at best, a spritz. It delivers a lot of what we’ve already seen before, but on a less-than-cinematic scale. Yet spending some time with Hopkins and exploring a speck of light in one of the world’s darkest chapters is just satisfying enough.

Well-acted and acutely observed.

A big warm cinematic jelly doughnut stuffed with youth, vitality, style, whimsy and other equally alarming properties. I tried to love it. But after 20 minutes, I sensed I was intruding on the movie's love affair with itself.

Operation Filmmaker is eventually about Muthana blackmailing Davenport by withholding access to him as she fruitlessly seeks a happy ending for her film. "Now, I'm just looking for an exit strategy," she finally concludes.

The enchanting voice on the phone, who delightfully shows up in person halfway through, belongs to Zooey Deschanel. In real life, she hooked up with the composer of the lively score, M. Ward, to create the pop duo She & Him.

There isn't a dud in the 10 shorts, although some are more dud-ish than others.

Tonally, Happiest Season is a bit uneven; it can move from broad hijinks to high emotion a little too quickly. But it also delivers wonderfully heartfelt moments.

Though somewhat marred by cheesy docudrama re-enactments, the film (produced by Steven Spielberg’s sister Nancy) is nutty, dramatic, surprising and above all inspiring.

Leonard takes advantage of one of Rylance’s greatest strengths — the ability to instantly switch from weak to strong. Behind every tiny smile is ferocity.

Dismiss “Cha Cha” as yet another heartwarming comedy at your peril because every single person in it has layers upon layers of complexity.

The story is still so compelling - and the principals still so eager for attention - that the filmmaker's pedestrian treatment can't take away from the impact.

Blair has a colorless, weirdly teenage delivery that doesn’t convey Hesse’s vivid, brilliant personality. It is odd to watch a documentary where the subject becomes more interesting when she is discussed by other people.

This featherweight comedy from director Ben Palmer (“The Inbetweeners Movie”) is a lot more fun than many heftier, supposed rom-coms, thanks to the timing and chemistry of its leads.

Those who can hang on through the mumblecore-ish narrative languor of the nicely photographed The Exploding Girl will savor a very talented actress' sensitive portrait of youthful awkwardness.

Shifting the self-deprecating japery of "High Fidelity" from a record store to a quiz show makes Starter for 10 a sweetly endearing date movie.

The Good, the Bad, the Weird may owe a lot to other films, but it is always fresh and never boring.

Be advised that this is no ordinary music doc. There are no talking heads and no performance footage of Nirvana. In fact, there's no Nirvana music at all. Instead, Schnack gives us other artists' music that had an effect on the troubled rocker.

Wants to be a "Last Tango in Paris" for the new millennium, but its flaccid dramatization and hollow moralizing doesn't rise even to the level of last year's "An Affair of Love," let alone Bertolucci's masterpiece.

The two male actors are very good, but Juuso is particularly amusing and touching as the earthy heroine.

Paints a picture of a young man enamored of his own image. His enormous success turned the ever-cocky Gator egomaniacal -- and abusive.

Glossy, big-budget thriller that qualifies as the season's biggest and most rewarding surprise.

The script falters at the end, as the two reach the Turkish village where Ibrahim was raised. But the winning performances -- and killer '60s soundtrack -- save the day.