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.

Love and Honor may be politically clueless, but Hemsworth and the student journalist he hooks up with (fellow Aussie Teresa Palmer of “Warm Bodies’’) do make an undeniably attractive couple.

The upstart Sapphires are a smash to watch as they cover soul tunes like “I Heard It Through the Grapevine,” “What a Man” and “I Can’t Help Myself.”

This unapologetic B-movie at least keeps the action rolling, and the time goes by quickly. To put it another way, I’d rather see Gerard Butler stab a terrorist in the neck than flirt with Katherine Heigl.

I’d like to take back all those times I said Nicolas Cage was one of the most annoying actors on film. It turns out he’s equally terrible when he’s only on the soundtrack. And yet Cage is the least of the problems with The Croods.

She’s (Fey) so good that — up to a point — you can ignore Paul Weitz’ erratic direction and a patchy script, both of which clumsily handle shifts between comedy and drama.

The bright palette of Reality is an obvious way to underline the hero’s unraveling, but it looks good, and it works.

Toward the end, despite the wintry script and chilly acting, some emotion begins to break through. But it’s never a good sign when the art direction offers more fascination than the sex.

A great writer deserves a more penetrating and inquisitive documentary: Reverence is not the path to understanding.

Clip hurts your eyes, but if it’s supposed to hurt your heart, it misses the mark.

Argentine writer-director Juan Solanas’ fantasy romance Upside Down is such a gorgeous wreck that I could almost sense Terry Gilliam somewhere muttering, “Wait a minute, I should have been the one to screw up this idea.”

If I Were You has more than its share of laughs, but director Joan Carr-Wiggin needed to cut half an hour to make this fly without interest flagging. She had the exact same problem with her last movie, “A Previous Engagement.’’