Ultimately, this intriguing but scattershot movie turns on the incompatibility of two worldviews - the corporate-financial vs. the environmental-spiritual.

There are times when the title is more a wish than an action - because just as cocaine addicts are forever chasing that first high, there's always the hunger to recapture a lost feeling again, even for those who have spent years in recovery. Pity those who fall off the wagon.

Stylistically unremarkable, playing it safe with structure, the film is still quietly revelatory.

The director doesn't require - and doesn't really get - distinctive acting from his cast, but every once in a while, the company manages to wink broadly at the film's genre.

Austrian documentarian Michael Glawogger's Whore's Glory is no "Pretty Woman." But neither does it qualify as an expose.

"Humanize" might not seem the obvious verb for what happens in Chimpanzee, Disneynature's latest kiddie documentary. But it's dead on; this escape to the planet of the apes is anthropomorphic to a fault.

Henry can finish a college application test in two minutes, yet Jesus Henry Christ doesn't know what to do with 90.

The movie uses the mutt's disappearance as a frame on which to hang a well-worn package of fatally mild domestic disorder, then resolve it in what feels like real time. Let's just say that the dog gets the best lines.

There's a better documentary to be carved out of Hit So Hard, but not necessarily a great one, because the gossip and drug-fueled capers offered up by Love are simply more compelling than the tremulous course of Schemel's life. Here, as then, Schemel plays backup to history.

The protagonists of Late Bloomers have a problem, but it's not that they're getting older. Their dilemma is that they're reacting so differently to aging.

Post Mortem is - intentionally - not an engaging movie. And Larrain sometimes overplays the existential anguish, notably during a few scenes of joyless, mechanical sexual release.

The accomplished actress Michelle Yeoh, who brought the project to Besson, is a regal beauty who brings off an uncanny resemblance to Suu Kyi largely through posture and the trademark flowers the activist wore in her hair.

Fellag, a comedian and himself an exile from Algeria, makes Lazhar both a sensitive and an amusing figure. And the kids are just terrific, especially Emilien Neron as a boy who carries the guilt of the whole school on his shoulders.

A horror-movie attic sale is, in essence, exactly what Cabin in the Woods is, an attempt to exorcise the genre of its formulaic possession by stuffing the movie full of its most overused and predictable elements - and then dumping them through clever skewering.

Even were it not so delightful, Damsels in Distress, set at a fictional upper-crust college, would deserve a watch for its dialogue alone.

Just as Ulysses illustrates the reflective nature of his journey by constantly turning back the hands of the house's clocks, each film of Maddin's is a reset button for the past. The director operates like a ghost himself, going back over his personal history and the history of cinema in an endless loop until he gets them right.

But a few mild misgivings aside, Spurlock has made, in essence, a 90-minute promo reel for the convention, a paean to fanboy (and fangirl) enthusiasm that could double as an orientation video, if such a thing were necessary. It's a brisk and cheery overview, sweet but superfluous.

We Have a Pope is not the filmmaker's next assault on a Roman patriarch. It's a half-sweet, half-rueful existential drama in which the satire comes secondary.

After nearly 90 minutes of human folly, though, Surviving Progress can't very well conclude with a tribute to mankind. So, to end on a hopeful note, the movie turns to a chimp.

All I can add to the discussion is the fervent hope that any parents, teachers, administrators or students who see it will immediately start clamoring for it to be shown at their next PTA meeting.

The performance that lingers after the film like a fizzy champagne buzz is Hammer's. He remains at all times deeply and persuasively sexy, but he also commits utterly to sequences that require a level of silliness that not all traditionally gorgeous young actors can give themselves over to so completely.

Far from carving its way into new nightmares, Intruders is bland enough to put old ones to rest.

There's an undeniable sweetness here, evident in the vulnerability that peeks through Alma's disaffected facade, and in the unconventional grand romantic gesture that turns the film's climax into a playfully dirty spin on "Say Anything's" boombox scene.

Scott has made an art - or at least a career - out of playing the affable dimwit. And with Goon, a salty Canadian comedy about the rise of a minor league hockey enforcer, Scott finally has his Hamlet, a role that calls for every blank, uncomprehending look in his toolbox while accessing the cuddly puppy within.

An incestuous payoff might be expected, given the casting of Green; she first attracted widespread attention in Bertolucci's "The Dreamers," as a young woman who is unusually close to her brother. But whatever happens, Womb is more melancholy than erotic.

Best of all is the half-surreal, half-touching scene of the couple ordering Chinese delivery - needless to say, the tip is sizable - and inviting the courier to Skype his family one last time and share in a moment of common humanity.

Arguably the most dynamic Asian action film since the 1990s peaks of John Woo and Tsui Hark, The Raid: Redemption works as sheer gladiatorial ballet.

The ride as a whole is at the very least exciting to take part in.