Strikingly photographed, Maelstrom, which explores its nautical themes in non-linear fashion, is not for all tastes. But I, for one, was hooked by this fish's tale.

In a captivating climax, the movie turns attractively freaky, though somewhat marred by cheesy special effects, and there’s a huge debt to the immense leaps of “2001.” An abrupt ending feels frustrating and leaves questions floating in space. Then again, I’m using only 3 to 5 percent of my capacity, so what do I know?

It's expertly directed in a low-key, naturalistic way that brings to mind French auteur Robert Bresson. It's also emotionally forceful and contains heartbreaking performances.

RV stands for "Retread of 'Vacation,'" or possibly "Robin's Vehicle," but to me it's funnier than "National Lampoon's Vacation." I always found Chevy Chase's road trip more unpleasant than outrageous, but RV has laughs spilling out of its overhead bins.

Sparse of dialogue and plot (think Andrei Tarkovsky), the import - named best first film at Cannes 2005 - has to do with Sri Lanka's unending civil war and it's devastating effect on residents of a barren no man's land.

A taut thriller, The Good Liar keeps you guessing ’til its explosive end. Director Bill Condon’s film is based on the novel by Nicholas Searle, and builds much in the same way a book does. You gotta get through the first 30 pages to become fully absorbed.

The first film was set during the happiest time in human history: World War I. A tormented Wonder Woman took to the trenches and endured a solid hour of smoke and soot. Squint and you could maybe spot the main character. Wonder Woman 1984, by contrast, is visually dazzling with kaleidoscopic color and buoyant action sequences. The plot, thank Ares, is no longer so self-serious, even if it is a bit knotty.

Hollywood loves nothing more than a true-crime story about a serial killer, but a new movie directed by Anna Kendrick does a number on that familiar genre.

Rarely less than compelling, must-see entertainment, thanks to Farrell, Schumacher and company.

This warped masochistic cousin to David Cronenberg's "Crash" - not to be confused with the Oscar winner of the same name - is well worth seeing for Farmiga's stunning performance.

Slight but utterly charming.

Heiskanen is a revelation as the put-upon wife, and the cinematography (some by Troell) effortlessly transports us back 100 years.

The intolerance and inflexibility that marked the Taliban's brutal rule takes a solid hit in this lovely import from Bangladesh.

Probably more gut-bustingly funny than anything else out there right now.

For a change of pace, you leave the entertaining “Superman” not confused or clobbered, but feeling good.

“Twelve Final Days” is a tender, mellow film that delves inside the head of a deeply enigmatic figure as he asks the relatable and terrifying question: “What’s next?”

Boasts dynamic performances by the two leads, as well as tight directing (a lot happens in just 82 minutes) and eye-pleasing cinematography (by Alain Marcoen, who also lenses for Belgium's acclaimed Dardenne brothers).

In his later years, Smith, who was also a gifted photographer, largely abandoned films in favor of performance art - and his art apparently included deliberately contracting the AIDS that ended his life.

Though most foreign films are best seen subtitled, the nonstop overexcitement of these anime performances can be exhausting. I’d have welcomed the dulcet tones of Pace, who voices Mr. Suga.

Audiences may find that the deliberate, Kubrickesque pacing -- without his intellectual rigor -- causes them to tune out.

By the time the final shot arrives -- a rooftop panorama in the falling snow -- we don't know much about any of the people we've just encountered. But we have been treated to a feast for the eyes.

The movie is a good 40 minutes too long and momentum ceases to build a while before it finally ends. Still, when the director’s party is raging, you’ll wish you had an invite.

Walken gives a beautifully understated performance.

A gleefully cunning comedy.

The effect is informative and moving, even if the film has an attack of the gooeys at the end.

Fight Club badly wants to be "A Clockwork Orange" for the millennium - and succeeds to a surprising extent until director David Fincher ends up sucker-punching the audience.

The lazy story takes on a passion and urgency that peaks in an emotional finale.

You may feel echoes of “Close Encounters of the Third Kind” and “Starman,” but writer-director Jeff Nichols has ultimately crafted his own unique twist on the genre.