Think of Enigma as a cerebral thriller about the horror of war and the hope that people had in spite of it.

If this isn't the single best performance ever by a preadolescent male (Osment) in a motion picture, then it's tied for whatever is first.

Pretty standard stuff, mixing a few truly clever moments with facile drug humor and throwaway female characters.

Only when it makes the claim for Page as a pivotal figure in American culture does it overstate the case and become tiresome.

Writer-director Patric Chiha directs the proceedings with incredible restraint, which works both for and against him. Yes, it allows the actors to shine with some subtle, quiet moments, and prevents things from going over the top, but somehow Aunt Nadine and restraint don't belong in the same sentence.

Fright Night isn't quite a classic vampire movie, but it's refreshingly straightforward and self-deprecating.

The problem with Ready or Not is that directors Matt Bettinelli-Olpin and Tyler Gillett (“V/H/S”) don’t know what kind of movie they want to make, or what to do with their heroine. There are constant shifts in tone — is it a comedy, like the trapped-in-a-mansion “Murder By Death”? A satire on the rich? A kick-ass revenge picture?

If Soderbergh's ambition was to make us feel just how dull it would be to a woods-dwelling communist guerrilla, he succeeded.

A stark, minimalist drama.

An endearingly quirky independent film from Australia, with very likable characters and an intriguing premise.

Muppet Treasure Island is an elaborate, juicy eyeful. The film is an impressive maze of visual scale and perspective that lets humans and puppets interact as a single species. The overall effect is a wonderful sense of the fantastical. But simplicity might have helped where the movie often stagnates with gimmicks.

The Wanderer can turn an anxious tone to creepy and phantasmagoric. Kaufman's brilliant camera work relies on the exaggerated style of comic books, and the visual energy throughout is gritty.

It’s extraordinary how Luhrmann is able to tell this story honestly, while still making it palatable. It’s equally extraordinary that he can take this short and tragically misdirected life and make it feel like a triumph.

While Pick of the Litter can’t be described as innovative, it still creates a solid emotional punch when we see several of the five now-grown dogs finally matched with grateful humans. It’s quite moving to hear the recipients detail how liberating it is to have the assistance of one of these amazing animals.

For the most part, it's fairly pleasant and interesting enough to be there.

Hao doesn't seem to have a point of view. Mongolian Ping-Pong is episodic and meandering, with several tedious stretches.

Harron validates and largely clarifies the work.

The violence and mayhem are constant, though the movie's style is refreshingly old-fashioned -- scream- and laughter-inducing, rather than coldly repulsive in the modern fashion.

A breed apart from anything coming off the Hollywood assembly line or, for that matter, from the saccharine romances Britain has lately produced.

Surprisingly, the results are embarrassing. As puppetry, Team America is stilted. As satire, it's gutless and lazy. And as comedy, it barely delivers laughs.

Klapisch still gets these characters to sneak up and make us care about them - though it might help if you remember them from when they were young.

You Kill Me is pretty light, but it's well made, and within the built-in limitations of its story -- a hit man goes to Alcoholics Anonymous -- it's fairly pleasing.

Much about Living Out Loud is pretty far-fetched, but at least it accurately portrays the dating possibilities for newly divorced women of a certain age.

Brad Pitt is in ecstasy here, despite the cool demeanor throughout. This is an actor who is never better and never happier than when he gets to be seedy, slick his hair back and wear a leather jacket.

By the end, Downsizing is one of those great ideas that should have just stayed an idea.

The goal here was to be absurdist, relentless and light. Well, Barb & Star is light — so light it floats off and vaporizes.

It's a complex, satisfying piece of entertainment, a succession of unexpected, outrageous scenes.

The real story of the King Richard dig is fascinating, but the movie, directed by Stephen Frears (“Cheri,” “The Queen”), is just OK.