They probably should have called it "Beneath the Dignity of the Planet of the Apes," but Rise of the Planet of the Apes is tolerable if you'll just keep in mind that the original feature was an overachieving B-movie.

Visually gorgeous despite its low budget, The Terrorist is a haunting film.

Kelemer doesn't offer anything that hasn't been done before in documentaries of this type. Still, Won't Anybody Listen makes for interesting viewing as a study of true-life underdogs.

Has some truly touching and funny moments. But it goes on for too long and bogs down in a surfeit of characters and unnecessary subplots.

Stands in stark contrast to the quickie political documentaries that have flooded into specialty venues since last year.

Doesn't sugarcoat the difficulties faced by this family, but this small gem has a very satisfying ending.

According to rumors swirling on the Internet, an English-language remake is already in the works, possibly directed by David Cronenberg.

Aniston's best on-screen performance since "The Good Girl."

Doesn't always make sense, and you cannot always tell what is real and what is imaginary, but viewers will be having too much zonked-out fun to care.

It’s a slickly plotted ticking-time-bomb thriller with a crisp look and one standout debut performance, by Hitham Omari as a ruthless leader of a terrorist cell.

As irresistible as movie-theater popcorn - a lavish, reasonably intelligent, well-acted sequel with kick-butt effects that outdoes its predecessor, 2000's "X-Men," in almost every department.

Despite some plot holes, Delirious, hits the bull's-eye with razor-sharp performances and dialogue.

Strel's 2007 adventures on and in the Amazon are detailed in John Maringouin's fun documentary Big River Man.

Like legendary producer Val Lewton in the '40s, director Oren Peli, who shot "Paranormal" in seven days in his own home, understands that what's most frightening is what you don't see but merely suggested.

Cary Joji Fukunaga was the right choice to direct “No Time To Die,” even if he wasn’t the first in this rocky road of a production. His Bond feels reverential and classic, but not campy, and he makes bold choices.

In an effective touch, Kisses opens in black and white, changes into color for its Dublin scenes, then returns to monochrome.

The movie is well-acted, but it's as talky as if it were written for the stage, with fatally slow pacing. Strictly for hard-core Sayles fans and maybe for lovers of American roots music.

Based on a lesser-known Dostoyevsky work, Brit director Richard Ayoade’s breathtakingly realized oddity will appeal to fans of David Lynch and the comic surrealism of Terry Gilliam’s “Brazil.”

Judging by this passionate film, the medical community -- has no clue about what causes this awful malady and, worse, doesn't seem to care.

So it's not only how they dance, or even what they dance, but why they dance. And that makes Tavernier's movie muddled, simplistic and more than a little pretentious.

Debbie, for better or for worse, is the high point of the entertaining but lightweight film, which is better suited to public TV than the big screen. Oh, yes. If anybody should decide to open another beauty school in Kabul, be sure to leave Debbie in Indiana.

As the wife, pixie-ish Kanako Higuchi provides the perfect accompaniment to Watanabe.

Profoundly moving and, at times, almost unbearably sad.

Don't let the quiet, indie stylings of The Place Beyond the Pines fool you. This is a big movie with a lot on its mind. Slowly, it unfolds into a kind of epic.

The frothy, feel-good Notting Hill is about as enchanting as movies get these days.

Director Lou Ye, who gave us the lilting "Suzhou River," doesn't care much for dialogue. He lets Wang Yu's pulsating camerawork do the talking.

Basically a carefully airbrushed and authorized portrait of the Gray Lady during 14 months when there was serious speculation about the paper's impending demise.