An amiable mix of "Grumpy Old Men" comedy and "Apollo 13" can-we-fix-this-jalopy-before-we-die? Drama.

A disturbing and provocative study of adolescence and isolation.

One of the film's cleverest devices is a "Personality Diagnostic Checklist" that equates corporate "serial behaviors" - exploitation, deception, greed, lack of empathy and guilt - with the antisocial makeup of a certifiable psychopath.

For those who gripe that America doesn't make cars or movies like it used to, Clint Eastwood has two words for you: Gran Torino.

And did I mention that it's long? It's long.

It also boasts one of the funniest, loopiest Woody Harrelson turns in years.

Coolly crafted crime thriller.

Penny Marshall brings a logic to the premise that is sustained through most of the movie. And where the other movies snickered at the sexual possibilities in the idea, she faces up to them with both candor and taste.

The Hangover pushes the boundaries of good taste, good sense, and good will toward man. And you'll feel good about it all.

We can't but enjoy the movie and its oddball characters - which makes us somehow complicit in their crimes.

A kind of deadpan soap opera - but one that, despite its high melodrama and wicked humor, delivers a real emotional wallop.

Has a certain cartoonish vibe. That's OK, because Brad Bird's brand of toonage (The Iron Giant, The Incredibles, Ratatouille) owes much to the rigors and traditions of live action, not only in the way he references other films, but also in his visual approach - sweeping, swooping camera pans, wide vistas, jolting perspective.

Pulp fiction doesn't come much better than Cold in July, a gritty, grisly - and perversely giddy - crime yarn directed by Pottstown-born indie-film provocateur Jim Mickle.

Remarkable movie.

The good thing about The Company is that nothing much happens. The bad thing about The Company is that nothing much happens.

It's a shame about Ray, because Foxx is trapped in a movie that takes the music icon's unique story and turns it into cheesy, sentimental American Dream cliches.

Things get a little tricky by the end, but it's the sort of trickery that's immensely satisfying.

However moved or indifferent one may be to the joys and heartaches of the very British Marryots, Bridges, their butler, and Ellen, his wife: Cavalcade is a necessary addition to one's cinematic education as an example of screen technique at its best. [15 Apr 1933, p.22]

Johnny Depp, who portrayed Thompson's alter-ego in Gilliam's film, provides the narration. If there's hagiography here, it's counterbalanced by biographical truth.

Steeped in attitude - a smart-alecky, insider sarcasm that can be pretty clever at times, but also pretty insufferable.

Spoofy and sweet... endearingly old-fashioned.

Not since Stanley Kubrick's "2001: A Space Odyssey" and Malick's own "Days of Heaven" has a movie been both so breathtakingly beautiful and so narratively abstract.

Apatow's film succeeds in having its virginity and losing it, too. Like "Wedding Crashers," it purges its cynicism with romanticism.

Historical drama of the highest order - teeming with big ideas, and anchored by the nicely nuanced performances of Vikander and Mikkelsen.

Cats is many things: a film diary of an odd-couple relationship, a profile of a forgotten man who slowly reconstructs his past, and the transcendently moving account of a man on the margins who gets reintegrated into society.

Side-splitting concert film.

If there's a more passionate love story out there, then I haven't had the privilege of seeing it.

Fails on a couple of levels. It never really gives you a sense of the psychology, the root causes behind Glass' elaborate frauds... And since we don't know the why, the how becomes considerably less interesting.