No great shakes, The Baxter nonetheless has a quiet loopiness going for it. And it has the absence of a laugh track going for it, too.

A film of haunting eloquence and justifiable fury.

It's a good story, a sad story, a story of triumph and prejudice and terrible hypocrisy. And Cumberbatch aces it all - another smartly realized but deeply soulful performance from an actor who seemingly can do no wrong.

This is very much Anderson's film. The publication of the novel made Wharton's reputation. The release of The House of Mirth should do the same for Anderson.

The three (human) leads are perfection. Bridges' Howard is as breezily garrulous and glad-handing as Cooper's Smith is laconic and withdrawn. Maguire's Pollard has haunted eyes and orangey hair that makes him look like a human jack-o'-lantern, and establishes his own unique rhythm and less-is-more style.

No manner of bizarre distraction can keep Anchorman's hapless hero from his mission: "I'm going to do what God put Ron Burgundy on this earth to do," he declares. "Have salon-quality hair and read the news!"

Ain't nothin' but a party, y'all.

Fresh, funny and perceptive.

"Rebel Without a Cause" with a debate club, Better Luck Tomorrow is a sharp, smart slice of suburban angst among the high school overachiever set.

May not be great cinema, but it nonetheless deserves attention.

Baumbach, whose films include the searingly funny, autobiographical "The Squid and the Whale" and the brilliantly uncomfortable "Margot at the Wedding," writes wry, sharp, poignant stuff.

The delightful G-rated film has a story line simple enough for pre-schoolers to follow and comic sensibility complex enough for adults to savor, with an emphasis on howlingly bad (by which I mean good) puns.

Like "Tremors," only ickier, Slither is a tongue-in-cheek horror flick that skewers the genre while delivering seat-squirming scares.

The fascinating aspect of the rambling and involving film is how Ralph and this no-nonsense dame who married Dad become confederates.

Foxx makes what he does look effortless. He's the reason to see Collateral, as he walks into the frame and walks off with the picture.

Effie Gray is peculiarly compelling, even if the issue of sexual repression, all the Victorian manners, seem light-years gone and close to unfathomable.

All about the wacky borderlands where reality and invention intersect. But there are no safe demarcations -- no demilitarized zone, no Berlin Wall -- to cue us to which side we're operating in, or that Barris is operating in.

Both the leads are scarily good, and Ozon imbues his troubling tale with jarring blasts of light and the sun-dappled beauty of the natural world.

The film - despite being a half-hour too long - is a rocking, rolling supernatural spectacle.

Given this swoon-inducer, Summit Entertainment would be well-advised to set up fainting couches in the multiplex lobby and provide smelling salts to those who need them.

The transformation of Reynold's lawyer from a bumbler and stumbler to a victorious litigator, sticking it to an entire nation, is the stuff of a Frank Capra/Jimmy Stewart pic.

Fever Pitch works. At times, it works brilliantly.

With the exception of one sequence, this PG-13 movie is so youth-friendly that I thought I might take my 10-year-old. But that sequence, upsetting for those of any age, makes the movie better suited for mature 12-year-olds and older.

Mostly this elegant little film is a case study in the inconsistency of thoughts and feelings. Here, moralists break commandments, intellectuals act emotionally, and cynics have moments of idealism.

This seriously funny group portrait of third-generation clam diggers (and their wives and sisters) is fresh as today's catch and about as tasty. Its '70s soundtrack positively swaggers.

It is a fever dream of a movie, tracking its subject as she tries to maintain control, maintain her composure and her sanity, and as she tries — shellshocked, quaking with grief, but also fiercely determined — to shape and secure her husband’s legacy.

A small, intimate micro-budget effort, Altered Minds boasts terrific production values, pitch-perfect performances, and an eerie soundscape of found noises that evoke the feel of a surreal nightmare.

At times Let It Rain recalls one of those Katharine Hepburn comedies where the New Woman gets cut down to size so as not to intimidate the Old-School Men. Yet the film so likably deflates the pompous and pumps up the humble that it's hard not to like.