The last topic is the hook for audience members not related to Gregory or Kleine, but just as insight appears, back we go to Kleine's tediously selfreferential narration.

Temple and Angarano, entertaining enough, never quite sell the idea that this goodhearted couple would be so easily transformed by greed.

The disappointing The Company You Keep consistently stretches credulity way past the breaking point in its depiction of journalism, police procedure and political activism.

The film is built from moving, frank interviews with survivors from two families who hid, speaking over and around extensive re-enactments. Passages from the memoir of one family matriarch, Esther Stermer, in many ways the heroine of the tale, also are used as narration.

The movie's title might sound like a splatter-fest by Rob Zombie. But despite the theme, “Eddie” goes easy on gratuitous gore. What we get is a cerebral horror movie and a satire of the art world.

This enigma-delivery system from a sharp mind has enthralling moments but becomes a bit enervating in its self-seriousness. By the end, the whole thing feels more academic than mind-bending.

A preposterous supernatural thriller that inexplicably managed to sign up Julianne Moore to star.

This exhilarating brain-twister is a nonstop visual, aural and intellectual delight, steeped in movie conventions and yet fizzing with freshness. It’s what happens when film noir goes out to a rave.

Though it tries — with a much too heavy hand — the new Evil Dead is far less humorous than its predecessor.

The hippie heroine of this wacky Aussie comedy cheerfully theorizes that Australia was actually originally settled not by convicts but by mental patients — which may possibly explain the antics of Russell Crowe and Nicole Kidman, among others.

Detour does a fine job of giving drivers yet another reason to stress out, but that anxiety doesn’t extend to its hero’s fate.

Pablo Berger’s Blancanieves is the purest, boldest re-imagining of silent cinema yet.

There are a lot of casualties in this stylish, unoriginal thriller, but James McAvoy’s knee was the only one that moved me.

I’m probably more intrigued than 99.3 percent of the American public by the idea of deconstructing the hidden symbols in Stanley Kubrick’s “The Shining,” but the theories proposed in the doc Room 237 aren’t eye-opening. They’re laughable.

The biographical bits soon feel like a distraction from the music, performed by Gavilán. It’s heard often, but not often enough. Judging by the movie, Parra’s songs are fiery and haunting, sometimes sensuous, sometimes bleak. When Parra sings, the movie becomes worthwhile.

For a long while, director Benjamin Epps goes for breakneck farce; at its best, this is a batty mixture of family-values editorial and teen spoof.

Like the paintings of the master, Renoir is beautiful to look at, but it would be a mistake to call the film (or its subject) shallow.

A long, tedious and often unintentionally hilarious adaptation of Stephenie Meyer’s sci-fi follow-up.

Willis is at his relaxed best this time.

Don't let the quiet, indie stylings of The Place Beyond the Pines fool you. This is a big movie with a lot on its mind. Slowly, it unfolds into a kind of epic.

An inept, brutally unfunny collection of sketches.

Argentina’s noir Everybody Has a Plan is as sludgy as the river delta in which it takes place.

It’s not a documentary, it isn’t entertainment, and aside from Chung’s intelligent, dignified performance, this sure as heck isn’t art.

The young, novice actors are charming, but they haven’t completely mastered the art of natural-sounding dialogue.

Gould’s lugubrious presence is always welcome, and Rue plays her lovelorn part with verve.

Although the golden-hued cinematography (a filming cliché that really needs to be retired) and the sometimes slack direction by Marc Evans are minuses, Hunky Dory does deliver in the musical department.

You do have to give Starbuck credit for engineering perhaps the largest group hug ever put on film.

The plot doesn’t entirely escape formula, and the ending is jagged and forced, unable to commit to either hope or gloom. But for at least part of its length, My Brother the Devil brings refreshing changes to a genre badly in need of them.