Fast Five will push all your action buttons, and some you haven't thought of. So what if you hate yourself in the morning.

It works far better as a free-floating vibe than a movie, which can be read as a backhanded compliment or a sign of surrender.

Blood splatters, heads explode, and McDonagh takes sassy, self-mocking shots at the very notion of being literary in Hollywood. It's crazy-killer fun.

It’s a blockbuster that, with a few whirring movements and a half dozen clicks and beeps, transforms itself into something meant to be watched by actual thinking, feeling human beings. For once, there really is more than meets the eye.

Olmos is unsparing in depicting the dark side of human behavior. His in-your-face style stresses the urgency of a situation most of us choose to ignore. Though powerful, the film is sometimes preachy; there's a sense that information is being disseminated instead of dramatized. But it's hard to believe anyone will remain unmoved by American Me or its final shattering image of human desolation.

Mara is funny, fierce and altogether wonderful, even up against an irresistible costar.

Emma Watson is sensational as Nicki.

Guided by the fierce, fully committed performances of Driver and Bening,The Report is a bristling reminder that truth still matters. Naïve? Maybe. But, damn, do we need it now.

There is no all-caps ACTING here. Instead, Lawrence dials in to an uncomfortable numbness that tamps everything about Lynsey down, and thus keeps the performance at a recognizably human, rather than headline-friendly social-drama level.

In the context this documentary provides for the cult classic, it makes you want to see "Showgirls" again regardless of whether you belong to that cult or not.

Lumet has a reputation for speed, and when a film doesn’t engage him, as in Family Business, the result seems rushed, sloppy. But in Q&A, with all the actors perfectly cast and on his wavelength, he works wonders. Nolte is electrifying.

There is devilish fun in this look into 1990s white-collar crime. But the jokes are the kind you choke on.

A ghost story in which superior camerawork, costumes and production design work together to put the audience in a trance. It's tough on actors not to get swallowed up in the scenery.

Cyrano may sometimes feels like its struggling to find a way to say something new about a beloved, centuries-old work of art, one that’s been updated and deconstructed and reconstructed ad infinitum. Once the sex-symbol movie star starts whispering in its ear what to say, however, and how to act, and why it’s the well-spoken sadness of it all that makes it so swoonworthy — those are the moments that make this musical positively sing.

Mortensen and Isaac, expertly exchanging the faces of loyalty and betrayal, are both outstanding. Is the film too old-school for short attention spans? Maybe. Rest assured that Amini's shuddery endgame is well worth the wait.

For special effects alone, there's no problem: They're spectacular. And there's no faulting Mark Rylance, a newly-minted Oscar winner for Spielberg's Bridge of Spies, whose motion-capture performance as a 24-foot giant is both subtly nuanced and truly monumental.

The acting is dynamite, notably by Dillon and Newton in their shocking second encounter. Despite its preachy moments, the film is a knockout.

What Hooper has crafted is a work of probing intelligence and passionate heart.

Bateman's dazzling deadpan can raise tired zingers to raucous life with only a throwaway eyebrow lift. And McAdams takes to comedy with a natural actor's grace and precision. Talk about fun company. They're it.

Gordon-Levitt won't take safe for an answer. So Don Jon tends to stumble as it finds its feet. Still, you leave this movie feeling had at instead of had. The experience is elating.

The Pangs deliver enough shivery scares to keep you up nights. Eyes wide shut.

Writer-director Gurinder Chadha juggles all the angles with flair and fairness. Like Nagra and Knightley, the movie is a sweetheart.

Nolan directs the film exactly like a great trick, so you want to see it again the second it's over. I'd call that wicked clever.

Spurlock says he's not selling out, he's buying in. I'm buying into Spurlock. As ever, he makes you laugh till it hurts.

You’ll want to see this for Zellweger’s bravura turn alone. It’s one of the best performances of the year.

It’s all very exciting when it’s not completely exhausting. At least you can’t say Wonka is a generic legacy-property cash grab.

Blanchett burns on a high flame, and Redford finds the wounded dignity in Rather.

Sherrybaby is the kind of pretend-arty Sundance thing that gives indie cinema a bad name.