Winter hits his stride detailing how the music bigwigs hung Napster out to dry, but couldn’t do a thing about their industry’s permanently altered business model. This exercise in recent nostalgia (the original Napster went bust in 2002) might have been better if the tart cynicism of that section had shown up earlier.

Despite a remarkable performance by Suliman, who’s almost never off-camera, events become increasingly pat and implausible, with one explanatory scene played like a shadowy variation on Kevin Spacey’s monologue in “Se7en.”

A Hijacking is Lindholm’s second feature as director; he’s also worked with such austere Danes as Thomas Vinterberg of Dogme 95 fame. What he’s learned, it seems, is how to strip away distractions, and let character become suspense, as well as destiny.

It’s not exactly giving away anything to reveal that Stamp also sings three numbers in Unfinished Song — the last one so stirring that you should bring at least one box of Kleenex.

Less an awful movie than a totally uninspired one. The under-5 set may find it funny, though I suspect their parents will be checking their watches a lot, as I did.

So once you figure out the first rule of Zombie Fight Club — nothing too bad can happen to Brad Pitt — the movie is, despite intermittent thrills, rote.

What makes Storm Surfers 3-D mesmerizing is jaw-dropping footage shot inside brute waves that’s unlike any I’ve ever seen before.

In a film that’s often sad but not without its triumphs, director Morgan Neville smartly explores the complex role that ego and self-promotion play in this profession.

In Vehicle 19, Paul Walker is back behind the wheel again, but this time it’s a rented minivan and the plot is brainless even for a Paul Walker movie. Get ready for “The Slow and the Spurious.”

It’s doubtful that Scorsese will redo this new Lau thriller, which is OK because the Chinese original is all fans need.

Will there be a “Hatchet IV’’? I shudder to think about it.

Set in the drab suburbs of Paris, The Stroller Strategy doesn’t even offer pretty backdrops.

If the movie has a star, it may be cinematographer Oleg Mutu, the Romanian who lensed “The Death of Mr. Lazarescu” and “4 Months, 3 Weeks, 2 Days.” Even when the pace wanes, the images are still gripping.

Without any preachiness, this magically beautiful film urges us to take better care of the bees, and honor the irreplaceable things that they do for us.

A clever, elliptical, slightly bizarre and altogether transfixing psychological thriller.

In other words, this punkish, sleek film about beautiful kids wallowing in purloined Prada could have been written by a grumpy 65-year-old white guy in gabardine, provided he had a sense of irony. The Bling Ring is the bridge between Coppola and Bill O’Reilly.

Deploying an impeccable American accent, Brit Henry Cavill may be as charming as the late great Christopher Reeve.

There is stuff in This Is the End that had me laughing so hard, I sensed new body parts joining in to help out — my pancreas was heaving, my bile ducts ripped.

Time has robbed Blume’s subjects of shock value, but her perceptiveness hasn’t dimmed. The movie’s sincerity carries it along, and makes this story endearing despite its filmmaking clichés.

This material cries out for big-budget treatment by a real master like Paul Thomas Anderson or Martin Scorsese.

Though darker elements loom in the shadows, nothing in this painfully sincere film is remotely affecting; just think of it as “My So-Called Strife.”

Silly enough for you? Did I mention that the immortal Ken Jeong of “The Hangover’’ plays God, who gets mighty pissed when hubby accidentally shoots Jesus out of the sky?

Here’s a movie that will test the limits of your ability to watch other people having a good time.

Predicated almost entirely on the repeated juxtaposition of innocent girlishness and mindless violence, Violet & Daisy could still have been campy fun — instead, it wilts for lack of wit.

A dull drama about domestic squabbling that hopes to be mistaken for a thriller.

There is something both mischievous and moving about a world-famous director who, closing on his 10th decade, designs a movie that celebrates his actors: their varying ages, their versatility, their heart.

The best compensation for sitting through this silliness is Alice Taglioni as the primary cop.

The first filmed Shakespeare comedy in decades that’s actually funny.