The film is as faithful to Greek mythology as Thor is to tales of the Norse Gods, but it ultimately doesn't matter. Tarsem's goal is to give viewers an experience a little different from the norm and, to that end, he succeeds. The "wow!" factor is in full evidence.

DiCaprio wears the persona of Hoover with ease, again reminding audiences that the young man who made so many girls swoon with Titanic has grown into an actor of great range and capability.

Melancholia represents von Trier at his best and worst. Visually and thematically, Melancholia is a rich motion picture, full of nuances. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.

If there's a complaint to be made, it's that the humor could be less scattershot.

Although Like Crazy contains some emotionally on-target scenes, the movie as a whole feels glum and artificial. The characters, especially the male lead, are so low key that they're frustrating to watch.

The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.

Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.

Anonymous is well-paced and never threatens to bore or become too scholarly.

The problem with In Time, to the extent that it is a problem, is that an intriguing premise turns into window dressing for a somewhat routine "Bonnie & Clyde"-meets-"Robin Hood" action thriller with car chases, heists, and gunplay.

There are times when the story behind the making of a film is more interesting than the finished product. This is one of those occasions.

Martha Marcy May Marlene offers a challenging, emotionally riveting experience, even if the conclusion dangles at the edge of an unresolvable cliffhanger.

The scares (if you want to call them that) are still there - one "boo!" moment after another, strung together like a breadcrumb trail through a labyrinth. So if that's all you want from a Halloween release like Paranormal Activity 3, you are the perfect audience member.

The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.

Trespass is a home invasion movie, but not a clever, taut one; it's sloppy and obvious, with curves so un-serpentine they might as well be straightaways.

It's a solid, entertaining monster movie that, at its best, recalls not only its three decades-old namesake but Alien as well.

When the characters in Footloose are dancing and the music is blaring, the film comes alive. It has energy and personality. Would that the same could be said about the dramatic scenes, which are hamstrung by a combination of mediocre acting and atrocious dialogue.

By the time the two hour running length has expired, it's safe to say that Real Steel comes across as a legitimate crowd-pleaser.

This is a deeply cynical movie and, in that cynicism, it finds truth.

70 minutes into the 90-minute process, I was engaged. Then it all collapsed.

The action sequences are energetic and suspenseful but they don't always mesh well with the dramatic material.

There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.

Perhaps the only way to approach Abduction that will not result in a 105-minute boredom-induced coma is to think of it as a comedy, preferably with a drinking game attached. There are laughs to be had, although none of them are intentional.

Moneyball comes to life when elaborating on Beane's unique system of player selection, and the on-field baseball action is at times electrifying, but it trends toward the generic when tailing him away from the stadium.

Despite having a perfect cast for a title like Killer Elite, Gary McKendry's feature debut comes across as little more than a generic Jason Statham movie with two high-profile guest stars.

An emotionally rewarding experience: strong performances from leads Henry Hooper and Mia Wasikowska and a tender love story conveyed with genuine feeling.

Although the moral ambiguity of Straw Dogs has been softened in the remake, the message and the forceful way in which it is delivered remain the same.

The unfortunate ending, which wallows in artifice, is superficial and saccharine, and unworthy of the material that precedes it.

From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights.