Oddly, the filmmaker best known for his Valentines to New York, Woody Allen, is not participant.

The Green Knight has its share of flaws but there’s a freshness to Lowery’s approach that demands to be noticed.

For those who enjoy Anderson’s patented quirkiness, The Phoenician Scheme doesn’t disappoint. Assembled with the abettance of longtime friend and collaborator Roman Coppola, Anderson has almost completely dispensed with a conventional storyline in service of a movie that delights in parodying seemingly anything and everything.

Though there are some narrative hiccups, its emotional core elevates it beyond mere cringeworthy gore.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

Cavalcade's anti-war message is presented with more subtlety than that in Wings and All Quiet on the Western Front. The story is more concerned with the potential of death than it is with actual tragedy - how those left behind live in a constant state of anxiety, never knowing if their loved one is going to appear on a casualty list.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

Keeping in mind the limitations imposed on the production by the running time, All the Old Knives offers a compelling (if ultimately unremarkable) spy movie that tilts more toward a drama than a conventional action/thriller.

Although there are some structural and pacing issues, the film as a whole works by doing David Lynch’s favorite trick: finding the rot underlying the seemingly placid exterior of small town America.

The extreme nature of the gore isn't beside the point - it is the point. Raimi goes so far over the top in presenting these displays that they take on a campy, almost humorous appearance. It's impossible to take all this blood seriously. So, instead of being sickened, we're strangely amused - and this is all intentional.

It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.

Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.

Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.

Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.

The acting is superb across-the-board, with the three younger performers deserving accolades.

It retains the occasional power to mesmerize and amaze.

The Spanish Prisoner is for anyone who likes to think and feel along with the characters.

It's simple and well-told, although nothing about it is breathtakingly original.

A highly satirical work, albeit without the "in your face" style of "South Park."

There are no big-name stars. Barbara Serafian, who is excellent, has a thin, eclectic resume. She looks a little like Frances McDormand.

Away We Go is not as dramatically wrenching as "Revolutionary Road," but it's unquestionably more enjoyable.

The Dirty Dozen flows nicely, keeping things moving and drawing the audience along in its rapid current

Caught Stealing gives [Aronofsky] the right canvas, and he delivers with enough style to lift the film above the B-movie neo-noir roots of its screenplay.

Unchallenging but easy to like. There's not enough here to capture the interest of those indifferent to romantic comedies, but fans - even of the casual variety - will find this to be a pleasant mid-summer diversion.

Tonally, Hope Springs is closer to Alexander Payne than Meyers although Frankel does his best to keep things from turning too dark.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.