Trouble With the Curve has a problem tipping its pitches.

This documentary is not just interesting, but timely.

The Eye of the Storm is performed with zest by a fine cast and offers some nicely biting moments but, in the end, falls short of its large ambitions.

Though the movie isn't wildly original, its time-tested, artistic mantra of "just go out there and do it" is hard to resist.

The film is at its best in the bedroom, not shying away from the sexual relationship, but not being graphic about it, either. There is great sex, clumsy sex, tender sex - and it's all crucial to the story. Such genuine intimacy, whether gay or straight, is virtually nonexistent in American cinema. It's enthralling to see it here.

Features an exceedingly dapper Richard Gere in a series of nice suits and handsome close-ups that serve no purpose other than to remind us how exceedingly dapper Richard Gere looks in nice suits and handsome close-ups. The rest of the movie registers as a loss of: time, money, talent and logic.

At its best, the film uses fishing as a window into the internment experience. At its worst, it uses the internment story as the backdrop for a documentary on trout fishing.

The film is implicitly advocating a New Age or holistic perspective, with a dollop of Eastern religion added for good measure. (The title is Sanskrit meaning "wheel of life.")

If nothing else, The Inbetweeners Movie proves that raunchy comedies about horny teens aren't just an American quirk.

If they handed out a best actor Oscar for documentaries this year, the striking Vikram Gandhi of Kumare would be a shoo-in. His performance of a guru is so spot-on that it fools every one of his new followers into believing he's the real deal, not someone out to prove that their faith in him is nothing more than a sham.

An agony of bad plotting and whimsical, lifeless scenes.

In the end - and every story needs one - The Words is a decent, ambitious, unoriginal film about a decent, ambitious, unoriginal writer. Both aim for greatness. Both fall short.

Headland works hard to reconcile the wild and the tame; if she never quite gets the balance right, ya gotta admire her bold juxtaposition of overdose-resuscitation gags with lessons on self-loathing and bulimia.

Little White Lies is never boring, always watchable, always reasonably rewarding. It's just that, when it's over, 2 1/2 hours seems too big an investment for just pretty good.

In its way, the film is more concerned with the love between friends than the sex between strangers.

The whole thing runs about an hour too long: It should have been a TV show. The adventure's too big for the kids who would love it the most.

How many doubts can Lee possibly cram into one motion picture? Red Hook Summer has almost too many to count: moments that go clunk, followed by others that go clang; actors who talk as if reading their lines off cue cards or rehearsing them for the first time; and set pieces that lie there.

It all adds up to a fine, funny exercise in disheveled self-deprecation: a self-portrait of a guy who can't control a major portion of his life. Which, when you get right down to it, could describe almost any of us.

Bornedal invests so much time in the characters - Jeffrey Dean Morgan and Kyra Sedgwick play the split parents of the girls - that there are times you will forget this is a horror movie. It's Kramer vs. Kramer vs. Lucifer.

Hillcoat and Cave give us more than an action story. They create a world.

A strange story. A strange world. And strange characters doing even stranger things.

Some films are harder to watch than others - not because they're bad, which makes for a different sort of painful viewing, but because they touch on areas of such profound moral discomfort that the mere act of watching makes us feel complicit. We feel like gutless witnesses to a crime. And that's what makes Compliance such a hard thing to stomach.

A hard, funny and realistic movie about the future.

There's not really a movie there, nothing that sustains itself from scene to scene and nothing that's worth watching from beginning to end.

What makes this whole thing work is, first of all, Wilee's ride, an elegant machine that lacks any gears or brakes.

Pretty much everything shot by Shepard and co-director David Palmer looks as if it was done in one take. Hit & Run is closest in tone to the Tarantino-penned "True Romance," but it lacks that movie's menace.

It's extremely funny, one of the funniest films of 2012, with a particularly winning style - far-fetched, extreme and nonstop.

It's as if he has been trying to express something, or to make his own particular kind of good movie, for 10 whole years. Now he has.