As an account of how for-profit big business literally rips a consumer's heart out, Repo Men is too graphic for me.

What's not to like?

The movie has workmanlike, uninspired direction from Thor Freudenthal (Hotel for Dogs), who gets an especially lovely performance from Capron.

Rife with nightmarishly violent and horrific behavior. It's intense, graphic, frightening.

Greenberg, with Stiller's sad and self-mocking portrait at its core, is well worth getting to know.

If you're a fan of the indomitable Canadian rocker - high-pitched voice, proto-grunge guitar, total immersion in the music - then you want to see Neil Young Trunk Show on the big screen, for sure.

Despite Sigismondi's fresh eye, feminist perspective, and rapport with actors, The Runaways feels like a long-form music video, recycling every trope from the doomed-rocker handbook.

A gorgeous operatic tale of obsession and madness.

A pleasant taste of Roman life.

In the wake of the Oscar-winning "The Hurt Locker" - a far better film, and one with a less strident, less obvious agenda - Green Zone arrives looking strangely anachronistic.

Despite its title, The Exploding Girl is an oddly tranquil experience.

Fortunately, the actors are so likable that these wincingly unfunny moments don't spoil the party.

Wait till the DVD release.

Charged up with stormy melodrama.

If there were truth-in-titling, Burton's movie rightly would be called "Alice in Narnia: With Stops at Disneyland, the Shire, Rohan, Naboo, and Oz."

The title Brooklyn's Finest is drowning in irony, of course, but Fuqua's moves are less obvious: His film is classical and gritty, his violence makes you want to duck and run.

Gorgeous work, and its imagery and themes dovetail perfectly: a story about creating art, artfully created.

You want to cut Cop Out some slack because it's just so darn eager to please. So let's grant that it will make a reliably fun companion when it's on cable 10 times a week.

Olyphant has a cool, amiable vibe, kind of postmodern Jimmy Stewart, while Mitchell brings intelligence and quietude to yet another role that doesn't deserve such consideration.

If Malik doesn't remind you of Al Pacino's Michael Corleone on his journey from innocence to corruption in "The Godfather" saga, well . . . he should. A Prophet is similarly, startlingly momentous.

As a movie, Steal is as finely wrought as the decorative ironworks that hang on the walls of the Barnes between Picassos and Seurats. Yet as a narrative of the facts, it is as one-sided as a plaintiff's brief.

A surprisingly moving drama - a throwback to the small, character-driven indies of yesteryear.

There are many many fine performers here, including the terrific Patricia Clarkson as the elusive Rachel. But Shutter Island is not so much a character study as it is an atmospheric thriller.

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

Loaded with Hitchcockian hugger-mugger, this is a genre Polanski clearly revels in.

The Wolfman feels like a film reedited and reworked so many times it has lost all narrative rhythm and suspense.

A diverting action fantasy that modernizes the stories of demigods and monsters.

It is a pleasant, undemanding movie that takes place over 18 hours on V-Day and considers Very Attractive People whose romantic destinies converge, diverge, and cloverleaf like the interstates threading through California's Southland.