Loaded with improbable cultural references (Sherman totes a Stephen Hawking lunchbox and uses words like “eponymous”), I fear Mr. Peabody and Sherman may be a bit too brainy to fully connect with contemporary movie audiences.

Don’t be fooled by its awful title. The Spy Who Dumped Me is the rare secret-agent spoof that doesn’t double-O-suck.

Lino Ventura is grand as a solemn resistance leader. He's backed by a knockout cast that includes Simone Signoret.

An original head trip definitely not recommended for kiddies.

The political intrigue behind the documentary would make for a great movie of its own.

In addition to the magnificent music, the movie takes its rumpled charm from Fry's unfeigned fanboy manner.

Endearingly offbeat romantic comedy with a great meet-cute gimmick.

Doesn't shy from the ugly side, though it's far from the no-holds-barred exposé being touted in the ads.

What we’ve got is a highly entertaining nautical version of “The Towering Inferno’’ (still my favorite guilty pleasure of all time).

The acting is first-rate, and remarkably there's no sense that the sometimes tough material (which barely skirts an R rating) has been watered down to make it more palatable for a wider audience. I just wish Chbosky had changed that terrible title for the movie.

The Drama, for all its heat, is not perfect. I wasn’t won over by its climactic series of calamities that fall in rapid succession like dominoes at the end. However, most movies are completely forgotten by the time the credits roll. This one, like it or not, lingers for days. It’ll likely wind up one of the most controversial movies of the year.

A scary, inventive, exciting and breathless adventure that combines the best elements of “Children of Men," “Escape from New York" and “The Road Warrior," but leaves out the worst stuff - such as the story-clogging despair and political allegory in “Children," a movie that made apocalypse look like kind of a downer.

Jean-Pierre Jeunet, the French di rector of "Amelie," is back to more lighthearted whimsy with the delightful Micmacs.

A remarkable 179-minute meditation on the nature of revolution.

Ten percent of Ghana's 20 million people are disabled, yet the film makes little attempt to explain why.

The movie is strangely demure in its attempts to be wild.

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

As we learn in director Jonathan Berman's fun documentary Commune, the ranch was financed by people such as musician Frank Zappa and actor James Coburn.

The filmmakers are clearly fans, and any of Vreeland's personal shortcomings - child-rearing, for instance - are only hinted at.

Thanks to the extraordinary performance of Cotillard, who expertly lip- syncs to Piaf recordings and disappears into the part, few will regret seeing La Vie En Rose, named after a famous Piaf tune. Just brace yourself for a film of unvarying intensity that seems longer than its 140-minute running time.

Konchalovsky, best known here for "Runaway Train" (1985), takes on a difficult subject with a light mix of dark humor and pathos.

This contemplative drama manages to dodge mawkish potholes to emerge as a strangely life-affirming work.

The best actress currently on New York screens is Esther Gorintin, a 90-year-old Pole who provides the emotional center for Julie Bertucelli's delicate, bittersweet comedy-drama, Since Otar Left, which is set in Paris and Tbilisi.

Well worth seeing for its acting and its tempting cinematography. Don't be surprised if you find yourself wanting to book a vacation in Cobh.

An insightful time capsule.

Love Is All You Need is entirely predictable, and that’s OK in a film as lovingly made, well acted and enjoyable as this.

At its best, Love, Gilda intertwines the comic’s own narration — drawn from audiotapes, interviews and journals — with reflections from her current-day admirers.

Vincent Lindon, one of France's leading actors, is super as Marc, a man on a downward spiral into insanity. And Emmanuelle Devos is comforting as Marc's loving wife.