Scottish comedian Billy Connolly shows ample ability in the role, but he can't locate much charm in the character.

A gripping, mysterious use of no-budget cinema at its finest, and an intimate character study with surprising emotional power.

The only romantic comedy in quite a while that acknowledges, even celebrates, the fact that love and sex are emotional anarchy.

This is a story of real heroism that will leave you weeping, laughing and singing.

By the end of Wonderland, I might have felt completely pistol-whipped if not for the gracefulness of some of the movie's actors.

The sad thing about All the Real Girls is that Green seems more in love with his perceived unconventionality than he does with his characters. If that's not a town without pity, I don't know what is.

One of those gentle surprises, a kids' picture made with enough thought and care to keep adults entertained too.

The big problem with it is that the setup is treated as just that, a scheme around which many things that are intended to be funny (but aren't very) are packed like ice around a fish.

Much as I enjoyed watching most of it, I was deeply grateful when it was over and feel no strong desire to see the inevitable “Raid 3.”

The movie is a similarly ingenious clockwork contraption that interlocks the most unlikely combination of stories without ever jamming its gears.

Southern Gothic lite -- with a bite.

Told in lean, tense cinematic gestures, Jerichow also captures a social portrait of newly multicultural Germany, at least as it extends into the country's forgotten rural interior.

The chief problem with Thank You for Smoking, isn't that it's over the top; it's that it fits so neatly UNDER the top.

Never quite establishes its own identity, and when you remember it in two years it's likely to be that movie you saw that you kind of liked with that girl in it, what's her name, from TV.

Has a solid farce structure, a bunch of ripe second bananas, and two sinfully attractive stars ready to raise comic hell. So why is a movie with so many genuine laughs and so many good bits only fitfully amusing? The short answer is that the Coen brothers seem to be incapable of trusting their material.

To borrow a phrase from Pauline Kael, Intimate Strangers suggests bits of Alfred Hitchcock and bits of Woody Allen. But the wrong bits.

An imperfect work of genius, a satire of Hollywood excess and vanity that dares to tread territory laden with minefields.

It isn't surprising that the film was originally based on actors' improvisations, since it creates a universe of tremendously enjoyable characters and allows them plenty of room to roam, but has only the most predictable notion of plot and nothing whatever to say beyond be-yourself pieties.

Tells the story of a love affair and a new family, and reminds us that even billionaires are not omnipotent.

When Craven says "Jump!" we all do it at once, and giggle at how easily we've fallen under the spell. The key is that Craven is laughing with us, not at us.

Trumbo is a terrific picture, a blend of interviews and archival footage and readings of Trumbo's letters and speeches.

It isn't going anywhere, but the journey is highly entertaining.

I felt unable to decide between this movie is the most badass thing ever and OMG turn it off.

Lurid but compelling.

A flinty, almost hardhearted work about characters who have lost almost everything in pursuit of some undefinable abstraction, like honor or their country or doing the right thing. It's an impressive film, but don't expect any warm fuzzies.

22 Jump Street is the good-natured, sloppily rendered pile of balderdash for that moment, a movie that’s immune to all criticism and not worth bothering to dislike.

There’s a hint of Terrence Malick (or David Lowery, of “Ain’t Them Bodies Saints”) in the often-gorgeous photography of Ryan Samul, and a hint of Shakespearean grandeur in Sage’s portrayal of a dignified and honorable American father infused with an ideology of madness. I’m pretty sure I’ve never seen an exploitation film played so effectively as human tragedy.

Humor is notoriously subjective, of course, but I didn't find Young Adult especially funny. It's an intermittently engaging fable of American homecoming that's both intentionally and unintentionally awkward, and flavored from bitter to sour all the way through.