You're guaranteed never to have seen anything like it; objectively speaking, it's a wonder.

A little slapstick, a sexy twist, and we're all happy.

It's a fine idea, but Dominik beats that drum without cease, making his passionately furious message come across anything but softly.

You could wish for more, but for that there's still the epic-length miniseries. If you want just two hours of mournful, lovely melodrama of manners, this is a fine choice.

What Ruffalo brings is a gravelly voice, soulful eyes, and absolute commitment. He's a little aw-shucksish in a Midwestern way but never corny and with a strong backbone. You like him and wouldn't want to cross him. Frank Capra would love Ruffalo. So would Hitchcock.

It's a sharp and vivid film, filled with moments of tremendous ingenuity and characterized by a persistent avoidance of the expected tropes. It's far scarier than the big-budget remakes of "Godzilla" and "King Kong," more engaging than "I Am Legend," more human than a sackful of slasher films.

David Ayer's film is a gory, muddy, downbeat tale of war's hellishness and the fraternal bond between those stuck in the middle of it. It's also, like "Ryan," full of tense, grippingly staged action scenes that capture moments of pure adrenaline, and it's the tension between those two impulses that makes "Fury" fascinating and ultimately flawed.

Perhaps Following Sean is as much of a cultural oddity as "Sean" itself turned out to be. But it's a decidedly interesting one nonetheless.

A fresh look at the first chapters in the monarch's life, while maintaining historical fidelity.

The Road walks a tremendously daring and delicate line between inspiration and horror, and it does so not only in the events it depicts but in its very air and atmosphere. It was unforgettable on the page, and it impresses equally, or at least it does so remarkably often, on screen.

What makes Surf's Up stand out is its look and texture.

Capable but not transporting, never unraveling the mystery of its hero's genius or, worse, making us care enough to look deeper.

A murky, turgid work that is no doubt exactly the film Malkovich wished to make but is so indirect and affected as to border on incoherent.

Every once in a while a picture comes along that captures not just love, but romance in all its fear, yearning, fantasy, eroticism and unexpected epiphanies. German filmmaker Tom Tykwer's The Princess and the Warrior is one such film.

A deliriously entertaining field report from a historical moment when porn darned near became mainstream.

In comparison to others who struggle against real travails (the young Buck Brannaman, say), he (O'Brien) seems spoilt, entitled, impatient, shrill and mean.

Lest anyone think this soils Cera's record, the movie actually highlights his unique gifts; his easygoing chemistry with co-star Kat Dennings is practically the only thing about this picture that isn't pathetically contrived.

Ant-Man wastes the regular-guy appeal of its star, Paul Rudd, on a bland, by-the-numbers story that starts small and keeps on shrinking, a metaphor for the movie itself. Its modest ambitions are admirable and unrealized.

The best part of "Mockingjay -- Part 1" is when Katniss sings "The Hanging Tree."

Lennon's story is so remarkable and the footage assembled here so fresh and fascinating that the film engrosses despite its formal failings. Give it a chance.

Despite the accumulated facts, the lack of any commentators outside Kushner's circle of family and admirers and the refusal, in fact, to wrestle with the thornier questions of identity and criticism make this a worthwhile but imperfect film.

When the reenactors start to talk, In Country gets more complicated and interesting.

It's built of such exquisite craft -- the acting, the decor, the photography, the music -- that to refuse it is to refuse the very sensations that draw us to art, romance and maybe even life itself.

So heavy-handed and blatant in its posturings and so incomplete at 73 minutes that you simply feel like you've been harangued more than educated.

Also fun: tiny characters such as Jimmy's surprisingly helpful stalker (Nick Swardson); the film's final moments, which owe more than a little to "Grease"; and the skating costumes, which take their influence from such cultural touchstones as "Tron."

There's no doubt that Tarsem's a visionary director. Now he needs to envision a worthwhile script for himself.

Until State of Play slips into its small cascade of improbabilities near its end, it proves a thoroughly engaging and professional enterprise.

The film wastes itself on silliness and scattered threads before very long, truly squandering a brilliant promise.