No laugh in this doc – and there are plenty – goes out without a sting in its tail.

Stylishly shot on the high-def cheap, runs 77 potently sexless minutes. Its subject isn't erotica, it's commodities trading.

This Burt Reynolds offering is a look at both prison life and the sport, and offers two hallmarks of classic 70's cinema: gritty, no holds barred action – and Reynolds' chest hair.

Does Carey go too far? Duh. But why gripe when you can't stop laughing?

If you want to see explosive acting, just watch Judi Dench and Cate Blanchett ignite in this film version of Zoe Heller's 2003 novel.

There are valid criticisms of Wonder Wheel as a film that feels more like a stage play – its claustrophobic atmosphere can be stifling. But even covering familiar ground, Allen finds the blunt truth at its core. As Ginny is stripped of her fantasies and exposed to the harsh glare of reality, Winslet stands her ground, as if to say attention must be paid. It should be. Her performance is absolutely astounding.

What saves director Ted Demme's comic talkfest from sitcom slickness is a quirky script by Scott Rosenberg and an appealing cast.

It's a frisky romantic comedy with a great title and wonderfully appealing performances.

So, you're probably asking, what kind of a movie is this? A damn fine and funny one, thanks to the way the estimable director Stephen Frears (Dangerous Liaisons, The Grifters, The Queen) conducts the piece.

The British, Nigerian-born Oyelowo has proved himself an actor of extraordinary power in roles as diverse as Dr. Martin Luther King in "Selma" and the resentful son of a White House servant in "The Butler." As Robert, the actor radiates warm humor and quiet strength.

Spellbinding.

Thanks to Lowery's humanizing magic, Pete's Dragon is that rare family film you really can take to heart.

Amigo is combustible filmmaking, something that stays with you long after the final credits. In an entertainment universe of escapism and short attention spans, Amigo is a rousing antidote and a cause for celebration.

At its relaxed best, when it's about, well, nothing, the slyly comic Bee Movie is truly beguiling.

Ain't Them Bodies Saints offers no glib answers or smooth resolution, but there's no question that Lowery is a filmmaker with a striking future.

War Dogs is that rare contemporary comedy that knows how to make a laugh stick in your throat.

Get ready to be shaken and stirred.

The real stars here are the beasts, supposedly ugly, weird and dangerous, but paragons of FX creativity in service of genuine ideas.

Here's a fireball documentary about the 1970s, when filmmakers were stoked by sex, drugs, rock and, oh, yeah, social conscience.

Reality tv, welcome to the multiplex. If "The Hills" went back to high school and developed wit, perception and a conscience, it might play something like Nanette Burstein's wallop of a doc.

In the end, The Soloist isn't about BIG MOMENTS, it's about the grace notes, the kind that stay with you.

Truth to Power sprawls when it most needs to focus, diluting the power punch of the original with too much bobbing and weaving. But it's hard to argue that the crusade isn't still vital.

You leave the f--ked-up funhouse of Sausage Party thinking: Did I see this movie or hallucinate it? I mean that as high praise.

Macdonald sells it, the predictable and the profane, as if her life depended on it.

Even when the film trips on its tall ambitions, you can't shake it off.

Jenkins shows an innate gift for lacing laughs with the pain of experience -- Slums is based on her own life.

Winslet's fierce, unerring portrayal goes beyond acting, becoming a provocation that will keep you up nights.

Nicholas Meyer deftly mingles fish-out-of-water comedy and touching romance with discreetly gory danger.