Call The Master whatever you want, but lobotomized catatonia from what I call the New Hacks can never take the place of well-made narrative films about real people that tell profound stories for a broader and more sophisticated audience. Fads come and go, but as Walter Kerr used to say, "I'll yell tripe whenever tripe is served."

Laugh-out-loud funny and somewhat melancholic.

Ms. Farmiga is the only one who seems to be having any fun, as an aging flower child stuck in an earlier decade and addicted to healing vortex workshops and primal screams. Mellow, but very much a work in progress, Goats has a bland but overcrowded menu that could benefit from a little feta.

I think everything about the movie is too subtle and real to appeal to the "Batman" demographic, but for mature audiences who have forgotten how to smile, it takes up where "The Best Exotic Marigold Hotel' left off.

When this sick, ludicrous cocktail of sex, violence and mayhem was first unveiled a year ago at the Toronto International Film Festival, one wag aptly described it as "the ghost of Tennessee Williams meets the spirit of Quentin Tarantino."

The script is breezy, but neither of the two leads have the heft or charm to carry an entire feature-length film - separately or together.

Director Lloyd leaves it all to the imagination, but in a movie this slow and indecisive, the imagination is no longer enough when we've seen stronger stuff elsewhere.

Halfheartedly, I give The Dark Knight Rises - the third and final Batflick in the Nolan trilogy - one star for eardrum-busting sound effects and glaucoma-inducing computerized images in blinding Imax, but talk about stretching things.

As a thriller, The Imposter is gripping. As a documentary, it provokes confusion and annoyance.

These are neither good people nor interesting savages, and they're not worth caring about. Neither is the movie.

The Magic of Belle Isle is a warm, human, feel-good experience about bringing out the best in people, one that brings out Morgan Freeman's best performance in years.

Red Lights goes astray on so many levels that I gave up trying to figure it out before the end of the second reel.

The actors are so good, though, that they make you want to see what they could do in a better movie than this tedious acting-class experiment.

This is a rare feel-good treat that nudges the heartstrings and makes you feel optimistic about the human race.

Most of Ted eludes description, analysis and explanation. You just have to hold onto your own certifiable sense of humor and let Mr. MacFarlane take you where he wants to go. Then get out of the way and enjoy it.

Don't miss this one. A brave and inspired antidote to time-wasting mainstream movies, it is unlike anything you've seen before or will likely ever see again. In short, it is unforgettable.

It's a fascinating film that I enjoyed thoroughly.

To Rome with Love has moments of isolated charm, but it's only moderately entertaining, it isn't very funny, and it's entirely too long.

Intelligent, dignified and emotionally satisfying.

This three-hander has an honesty and a momentum that I found grudgingly rewarding.

I haven't seen a movie this bad since "Battlefield Earth" and "Howard the Duck."

Pop songs, beautiful bucolic scenery and the joy of watching Jane Fonda fizz in a fun role that looks like a no-brainer are elements that a skilled director like Australia's polished Bruce Beresford (Driving Miss Daisy) blends with perfection.

A nasty piece of work that's been hanging around for two years looking for an audience.

It has warmth, humor and an understated sweetness that is not to be taken for granted.

The result, in the case of Moonrise Kingdom, is what I call transcendentally brainless - an after school special aimed at asinine adolescents over the age of 40.

Considering the subject, ripe with titillating possibilities, it's surprisingly about as sexy as a week-old meat loaf. Tastefully directed by Tanya Wexler, it is a total joy from start to finish.

Battleship is dopey, preposterous and unintentionally hilarious in all the wrong places, but as directed by Peter Berg, it is also energetic, fast-moving and bracing.

It's a delectable slice of Southern Gothic humor, a side show of rednecks and Bubbas and Aunt Tooties.