The film has been clobbered with complaints: John Cassavetes, Rowlands and their frequent co-star Peter Falk would have played these roles better; the script is old hat; the improvisatorial style smacks of self-indulgence masked as raw truth. Blah, blah, blah. The detractors should shut up and drink their beer or at least accept She’s So Lovely for what it is: a gift.

Go with the whimsical flow that includes a hilariously morose robot named Marvin, voiced by the great Alan Rickman with the weight of the galaxy resonating in every bored, cynical syllable. Adams would be pleased.

A fresh and unexpected documentary that plays like a nail-biting mystery and a ticket to ride the whirlwind where art and commerce do battle.

Jolly good show.

The Homesman lacks the scope and depth of Jones' dynamite 2005 directorial debut, "The Three Burials of Melquiades Estrada." But Jones and Swank, walking the tightrope between comic and tragic, ignite combustibly.

Hornet's Nest is talky but indisputably terrific, and it ends in a dazzling display of courtroom fireworks. Rapace is hot stuff in any language. Oscar, take heed.

Expertly directed by Richard Eyre (Iris) from Jeffrey Hatcher's play, the film is bawdy fun.

If "Sideways" made you curious about vino, this fierce, funny and challenging doc opens up a world worth debating.

What really lifts Celeste and Jesse Forever above the rom-com herd, besides breakout star performances from Jones and Samberg, is the movie's willingness to replace clichés with painful truths. It's irresistible.

In updating Shakespeare’s "The Tempest," writer-director Mike Cahill focuses on the magic worth finding between a father and daughter. That’s why the film sticks with you. It’s a gift.

Troy lacks the focus of Gladiator, not to mention that Oscar winner's scrappy wit. But why kick a gift horse when you're in summer-movie heaven?

Comedian Patton Oswalt triumphantly nails every comic and dramatic nuance as Paul Aufiero, a New York Giants obsessive who has long ago moved from fan to fanatic.

Despite a shaky framework, the magic works. It's a chance to see Ledger one last time in the act of doing what he loved. Take it.

What could have been a sentimental train wreck emerges as a funny and touching portrait of three bruised people.

Campbell keeps the action cooking and the suspense on a high burner in this compulsively watchable conspiracy thriller, while The Foreigner proves again is that Chan is the Man – now and forever.

This gut punch of a documentary will knock you for a loop. File it under "no good deed goes unpunished."

It's the whooshing terror that fries your nerves to a frazzle. Antal's control never falters.

Odd as it is to say, Kingdom of Heaven loses its momentum the more Balian gets religion.

It's hellish good fun. Stevens is mesmerizing as the avenger, helping director Adam Wingard turn The Guest into a blast of wicked mirth and malice.

Relentless suspense allows The Girl Who Played With Fire to hold you in a viselike grip. But it's the performances of Nyqvist and especially Rapace that keep you coming back for more.

In Mother and Child, he (Rodrigo Garcia) creates an emotional powerhouse.

Free Fire may suggest Wheatley is deservedly moving up the industry food chain – it's executive-produced by Martin Scorsese – but it also merely a formal exercise, albeit one buoyed by the sense that the director is having the time of his life behind the camera.

Barbershop: The Next Cut is stagey, often simplistic and it talks too damn much. But, hell, the talk has flavor and snap and a real-world sense of a community in crisis. Not bad for an escapist romp.

Badgley, best known for playing "lonely boy" Dan Humphrey on Gossip Girl, is a revelation. He wears his role like a second skin.

A pitch-black comedy that dances around its central theme without ever facing it head on. But oh, the demented, delicious mischief it kicks up.

Tracks is an exhilarating adventure that opens up an unknown world to most of us and does it so well that we feel we're living it too.

It would be no country for movie lovers without the Coens. They still manage to run unmuzzled while the rest of Hollywood runs scared.

Don't let anyone spoil the surprises of this thrashing, thrilling chunk of cinematic gold. It's one for the time capsule.