Craig's film is well-served by solid writing, brilliantly executed slapstick comedy, and nicely choreographed scenes of ultraviolence - not to mention amazing chemistry between Tudyk and Labine.

If illuminating dawns and dusks had basked Mia Wasikowska and Henry Hopper in a rosy glow, the mopey cuteness of Restless would have been too much to bear.

By the end of Machine Gun Preacher, its title character has become a cartoon.

In some scenes, Faris' sheer velocity gives the movie liftoff. In others, it doesn't hurt that Evans, who looks like the very young Alec Baldwin, and has the sonorous voice of Mark Feuerstein, is the film's sex object.

It's half hilarious, half serious; all poignant.

A must-see for Pearl Jam fans - and for folks keen on gleaning insights into the pressures that come with megastardom.

Like some murderous version of "Working Girl," the ruthless exec and the seemingly naive underling go at one another - turning the film, at a pivotal moment, into a satisfying whodunit.

Between the earnest boy, his playful mammal, the film from actor-turned-director Charles Martin Smith is a winning family entertainment.

Loaded with careening car chases and rooftop runs, glass-shattering shootouts and exploding fireballs, Killer Elite offers more than enough to keep action junkies happy.

Funny, furious, and full of front-office drama.

Bellflower has plenty of rough edges and it suffers from a bad case of hipper-than-thou-ness. But it's a triumph.

Corinne's journey begins with an act of blind faith. The movie ends, but you have a palpable sense that the journey does not.

It fails as a gripping home-invasion thriller.

In describing the conflict of a woman who has it all without enjoying it all, Pearson's book had teeth. McKenna's screenplay has only a smile. But is it ever good to laugh.

Plays like an exalted episode of "Miami Vice" or a stealth version of "Shane."

Circumstance is more interesting for its cultural views than for its insights into love, sex, family angst, and rebellious youth.

The two leads, Edgerton and Hardy, pull off their respective roles - rising above the cliches and the melodrama - with ferocity and focus.

By the time this globe-hopping, movie-star-crammed disaster saga - directed with petrifying efficiency by Steven Soderbergh - comes full circle, you'll never want to touch a subway pole or elevator button or ATM again.

Viewers get very little about Madoff himself. While the film is primarily about Markopolos, it makes little sense without much insight into his nemesis.

Until Seven Days in Utopia sucker punches you with a surfeit of faith-based platitudes, its upbeat brand of golf mysticism isn't altogether unappealing.

Completely unappealing people.

What the three pairs of actors lack in semblance (or resemblance), they make up for to a great extent in their performances.

Colombiana isn't the last word in action movies, but it's a fun ride. And so wrong.

The Hedgehog is full of heart, passion, and human longing - but also a good dose of existentialism. Think of it as Sartre's "Being and Nothingness"-meets-Dr. Seuss.

Despite the potential for some supernatural grandiosity, the tone here remains understated and quiet, and Gainsbourg's performance feels lived-in, and deep, and right.

While this hugely likable cast is, indeed, hugely likable, no one's sweating things at all. The comedy's relaxed, moony rhythms imbue it with a certain charm, but can result in a certain stop-and-start awkwardness, too.

Joltingly graphic and atmospheric (Nixey and his crew at least know how to set up a few good shocks), Don't Be Afraid of the Dark fails to involve us in any meaningful way with its characters.

The story, inspired by Bolkovac's experiences in Bosnia and her subsequent book account, is dynamite. Alas, Kondracki's direction fizzles. While she elicits a tense and eloquent performance from Weisz, the first-time filmmaker fails to maintain a consistent tone. Her film samples multiple genres.