The latest calcified bore by Sofia Coppola is less pretentious than "Marie Antoinette" but every bit as inertly stupefying as "Lost in Translation."

A true masterpiece of visual enchantment. One of the most original and unique geniuses in cinema today, Mr. Chomet directed, wrote, illustrated and composed the music for this holiday jewel, an homage to the sweet, sad melancholia of the legendary French comic Jacques Tati.

This meticulously nuanced, sensitively acted film version of the Pulitzer Prize-winning play by David Lindsay-Abaire gives Nicole Kidman her best role in years, and she chews it like raw steak.

You can't fault the theme that life's darkest moments brighten when two people need each other, but there's no drug strong enough to get me through another movie like Love and Other Drugs.

Lena Dunham makes a 98-minute home video seem like 98 days of hard labor.

As the actor of the year in the film of the year, I can't think of enough adjectives to praise Firth properly. The King's Speech has left me speechless.

Burlesque is the celluloid equivalent to a Big Mac attack, and any resemblance to a plot is purely coincidental.

Enhanced by superb writing and direction and nuanced performances by an ensemble of great actors, and enough take-home food for thought to keep the mind and senses totally focused from start to finish, The Company Men is pretty damn close to as good as it gets in a disappointing year at the movies.

These are characters so repulsive that it's hard to care what happens to them, but it's to the credit of a superb cast that you do end up caring.

You go away slack-jawed with shock and sated with the chilling bedtime-story elements of a great unsolved mystery novel you can't put down.

This is an oddball tale that is well worth telling, but Mr. Carrey simply cannot resist turning it into a Three Stooges routine in drag.

This exercise in hysteria is so over the top that you don't know whether to scream or laugh. Despite an emotionally gripping performance by Natalie Portman, it's nothing more than a lavishly staged "Repulsion" in toe shoes.

Made in Dagenham is a retro romp with heart, smarts, soul and wit that will restore your faith in the power of the picket line.

Speaking of afterthoughts, Olivia Wilde has a bit part as a single mom who unwittingly aids and abets the Brennans in their escape, and Brian Dennehy lurches silently through a number of scenes as John's working-class father. It's jarring to see such big-name actors in such thankless roles.

Some of the on-camera bitchery between Mr. Ford and Ms. Keaton is laugh-out-loud witty. For the most part, Morning Glory is a delicious movie that will make you jump for joy.

It's a Clint Eastwood role that only proves you can't send a boy to do a man's job.

For a story about a man who cannot move, the ordeal unfolds at a pace that keeps you breathless.

Fair Game is an important exposé of corrupt political power gone toxic. It's good enough that it deserves to be better.

You go away exhilarated. The movie has been through as many hurdles getting here as dear, sweet Jolene, but sometimes the most engaging movies are the ones worth waiting for.

Despite its good intentions, this earnest little film seems embalmed.

Soberly and responsibly, a small but significant film called Inhale, starring the underrated, charismatic and terrifically accomplished Dermot Mulroney, has arrived without fanfare or big-budget ad campaigns to capture some well-deserved attention.

Filled with nuance, intricate emotion and a refreshing absence of melodramatics, Conviction is a moving exploration of light and love shining through the darkness of despair. Its impact cannot easily be shaken.

There is plenty of excitement and pulse in Hereafter, as well as a reluctance to provide easy answers to life's great mysteries. I'm happy to see a great director take on the challenge of new and different material with his customary grace and impressive two-fisted technique intact.

The filmmaking works in and of itself, but that Lakewood feels so emotionally in tune with its lead actress is a feat all on its own.

This is one terrific movie about one terrific horse. It enthralls on so many levels-emotional, cinematic, historic.

This film transcends its trendy, obvious limitations with enough vitality and vitriol to make it as informative and breathless as it is entertaining.

Kristin Scott Thomas breathes new life into a woman who was invented by Flaubert and copied by Francoise Sagan.

I found Howl a fascinating and imaginative evocation of mid-20th-century liberation, a mere and merciful 90 minutes long.