A blood- freezing German thriller, a very stylish variation on "The Silence of the Lambs" and "Seven."

It's unfortunate that the people DuBowski profiles tend to be self-indulgent or otherwise unappealing. It's still more unfortunate that the film focuses more on relatively easy issues of acceptance.

At once, a joyful celebration of female friendship and an unusually honest look at newly responsible young women wistfully saying goodbye to the dreams of their youth.

For the first half-hour or so, this thing works like white lightning.

Solomonoff draws out vivid performances by Valeria Bertuccelli (Elena) and Ingrid Rubio (Natalia) that make up for the script's predictability.

Gronkjaer's cinematography is pleasing, with beautiful sunsets and tranquil snowscapes. I won't give away the ending, but it might bring a tear to your eye.

At heart a rather chilly and clinical portrait of four very selfish people.

If you didn’t know Kirby before this film, get used to hearing her name a lot. She’ll be nominated for every major acting award this year.

The poster art for Nanette Burstein's American Teen, which follows five students through their senior year at a high school in Indiana, is modeled after the one for "The Breakfast Club." So, to a large extent, is this ultra-slick and predictable documentary.

Neil Jordan’s Byzantium dares to rework “Twilight” with twice the teen moping and Robert Pattinson replaced by a guy with the sexual magnetism of a sickly Ron Weasley.

A buffet of dumb and degrading stunts halfway between Looney Tunes and Abu Ghraib?

I've had root canals that were more enjoyable than Margot at the Wedding, Noah Baumbach's hugely pretentious, ugly and annoying follow-up to "The Squid and the Whale."

May serve as a useful way to introduce teens to what World War II in Europe was like.

The inspiring story of Chely Wright, the first major country singer to come out as gay. Her decision was a brave one since the world of C&W music is notoriously homophobic.

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.

An intelligent work that avoids exploitation and cheap laughs.

A brutally funny deconstruction, a hybrid of “Watchmen” and “Superbad” filtered through John Woo. It’s a boisterously original piece of entertainment . . . that isn’t for everyone. Note the rating, which should be triple-R, as in Really, Remarkably R.

Rambling, mildly engaging micro-budgeted indie.

Overlong and grim to the point where some scenes are virtually unwatchable.

Basically a watered-down collage of scenes from "Heathers," "Clueless," "Sixteen Candles" and numerous other teen flicks.

Like a preoperative transsexual, Transamerica is neither one thing nor the other. It yanks at the heartstrings too much to qualify as an edgy comedy-drama, but it's far too bawdy to make it to the Hallmark Channel.

If you like your language blue and your humor coarse, Margaret Cho is for you.

Overall, it's a hand-tailored job in a marketplace filled with off-the-rack movies.

A sometimes glorious, sometimes disastrous folly.

Dumb Money, with a predictable script by Lauren Schuker Blum, Rebecca Angelo and Ben Mezrich, rambles on and on with an unwaveringly lethargic tone and zero buildup of energy or anticipation. All the while, the audience has little investment in this dud about investing.

The Good Dinosaur is no instant classic like its sublime predecessor “Inside Out,” but is modestly pleasing in its own way.

No matter your take on Merritt's persona, there's no denying that he's a unique musician whose songs -- such as "Papa Was a Rodeo" and "Living in an Abandoned Firehouse With You" -- are worth discovering. As is this film.

Miami Vice isn't an action flick but a neo-noir: tough, quiet, moody and hard.