The women are all beautiful; and the camerawork - by Emmanuel Lubezki, who shot Terrence Malick's spectacular "The New World" - is eye-pleasing.

Animated sequences give life to various voice-overs, but are never as interesting as the young woman herself.

Poison Friends deftly sketches the fine line - is there one? - between "critic" and "loser."

The musicians' stories, while quite entertaining, add up to a somewhat confusing chronology. Still, they're good enough that you wish Justman hadn't resorted to those tacky TV-style re-creations that mar so many documentaries these days.

It’s an absorbing documentary that eloquently explores questions about forgiveness.

There's very little doubt in my mind that somewhere, culinary legend Julia Child is fuming about being consigned to a double bio-pic with a whiny, self-centered cooking blogger.

I wouldn't want to see five movies like this one each week but it's a cheeky, madcap joyride.

A huge hit in China — where it was released in 3-D IMAX — the handsomely filmed Journey To the West deserves better than the token 2-D theatrical release it’s getting in the United States to support its simultaneous arrival on video-on-demand.

The slow, methodical pace of Here will undoubtedly drive a few viewers crazy. But for those in tune with its quiet rhythms, it's worth the journey.

Call it the rape of Carnegie Hall.

An effective damsel-stalked-by-psycho horror tale, only more lush, as befitting any film produced by Ross Hunter. [15 Aug 1999, p.035]

It succeeds mostly thanks to stellar work by the wonderful Joseph Gordon-Levitt, who capably handles the dramatic heavy lifting, and Seth Rogen, who delivers big laughs as his raunchy bud.

The film's leisurely pace and abstract format isn't meant for the multiplex crowd, but rather for adventurous moviegoers. It took guts to make Khadak and to give it a theatrical release. It might take even more guts to seek it out.

Weirder and more contemplative than many of its time-traveling brethren, Predestination is a stylish head trip. It also marks Australian actor Snook as one to watch, as she demonstrates some serious gender-bending range.

For its wicked innocence, this is the finest rock movie since "Almost Famous."

Life of the Party is undeniably at its best when Falcone is showcasing McCarthy’s aptitude for physical comedy.

A working-class hero of a film.

Some editing would have made The Nice Guys easier to love — at times it feels as bloated as Crowe’s gut. It’s neither as fast, fresh or as funny as Black’s “Kiss Kiss Bang Bang’’ (2005).

The Coen brothers might have done something inspired with this, but director Kanievska... turns out a more modestly entertaining little low-budget movie.

This is noir on steroids, cartoonishly ultra-violent and drawing inspiration from Mickey Spillane novels and E.C. comics of the '50s.

When disaster struck, the documentary says, the powerful corps went to extraordinary lengths to silence, discredit and punish whistleblowers, many of whose allegations were supported by congressional investigators.

The story isn't exactly new, but Bollain, an actress in her own right, keeps Take My Eyes from sinking into clichés.

Does a solid job of documenting the life and art of the drag grand dame, whose life has been almost as tumultuous as the characters played by the Hollywood divas he channels.

Often extremely funny, always thoughtful, the movie transcends its static nature to become a deeper picture of modern Iran than any news story could offer.

A mashup of Nick Hornby and Martin Scorsese? Why not?

In the most thrilling sequence of this consistently rousing old-school adventure, Heyerdahl grabs a passing shark with his bare hands, thrusts a hook into it, drags it aboard and guts it with a knife. Now that’s what I call entertainment. I haven’t seen such crazed brutality since Lou Lumenick’s review of “Movie 43.”

A remarkable attempt to portray what might turn soccer-playing boys into fanatical murderers.

The plot of the indie feature Room is, shall we say, sketchy. But that's a minor annoyance thanks to a gutsy performance by Cyndi Williams and vibrating cinematography by P.J. Raval.