To my eyes, the whole thing looks sad, like something people might cling to in the absence of religion - or a kind of religion in itself, minus dogma or salvation, but with lots of people standing around dressed like total goofballs.

This Is Not a Film isn't just a film, it's a strong one. It's also an act of political defiance, a moving personal document and a meditation on what film is and can be.

The movie is harsh, nasty and vulgar like you wouldn't believe. And often, it's hilarious.

American Reunion isn't a total wash. Its one saving grace is Eugene Levy as Jim's dad.

The film is full of low-key but telling observations, mostly about Gianni's plight but also about modern life in general.

A mostly compelling documentary about that rarest of breeds, an appealing politician.

The plot is spare, but unsettling imagery elevates The Hunter to the level of pure cinema.

It's a strange film, very original and very good. Just by virtue of the subject matter, it can't help but be erotic, and yet eroticism is not the movie's purpose.

If you don't guess the big twist in the first 30 minutes, Intruders is half of a good movie. If you do, it's about a third of a good movie. Either way, there's a whole lot of bad movie to contend with.

Rachel Weisz - in what has to be the performance of her career, and there have been lots of good ones - plays an intelligent woman in the grip of a lust that's too big to handle or suppress. She can either ride the tiger or be devoured.

This is a movie in which whole sequences consist of nothing but guys fighting stiff computer images. Such scenes would be boring even were they done well, but these scenes aren't done well.

Cleverness won't carry it. Nothing less than overarching vision is required; otherwise, the audience will laugh for 10 minutes and then start to check out. And that pretty much states the problem of Mirror Mirror.

The image that finally lingers is one shown repeatedly: a close-up of fingers gently pressing a piece of fish onto a handheld oblong of rice, painting it with a single brushing of sauce and laying it on a plate, after which the preparer steps back. We're left to contemplate the pristine creation and envy Jiro's lucky customers.

Iko Uwais is not exactly a household name, but the Indonesian heartthrob appears to be well on his way with The Raid: Redemption, a clever, action-packed film that showcases his movie-star looks, low-key charisma and breathtaking martial arts skills.

Israeli writer-director Joseph Cedar imbues his tale of academic maneuvering, misunderstanding and mystery with the zest of passion and the zing of intrigue, It's a vivacious film, having its little fun with suspense-flick conventions (including Amit Poznansky's bouncing score) that build to a climactic finish.

What it means in practice is that, with a Dardennes movie, nothing much seems to be going on - until everything seems to be going on. We watch events at a remove, and then, at a certain magical point, we are in the story, and we don't quite know how they did it - again.

This is better than any of the "Twilights." It features a functioning creative imagination and lots of honest-to-goodness acting by its star, Jennifer Lawrence.

Fake It So Real isn't just for wrestling fans. It will appeal to anyone compelled by the documentary medium's ability to tell stories.

The New Zealand feature Boy almost pulls off the trick of merging cartoonish humor and '80s pop culture with a story glancing at deeper family issues. The film has an appealing 11-year-old hero, but in the end feels half baked.

Kill List has a slow build, but don't be lulled into complacency. This is one of the most violent and disturbing films you'll see in an art house.

The latest Audrey Tautou film, Delicacy, is sensitive and well acted and fits under the general category of "good movie," and yet it would be hard to get excited about it.

Think of The FP as the occasion for a party. You need to find a room full of people who get the joke and see this movie there, because audiences will be laughing so hard they'll be screaming.

Apart is an attractive-looking piece of work, and I'll always admire any genre film that errs on the side of understatement.

It's really strange, and it's really subtitled.

The Duplass brothers keep making miniatures that contain universes. They seem to be casual, but they're dead serious. They seem to be stumbling around finding stories by accident, but their movies are thematically rigorous. They seem to be presenting matters of little consequence, but the stakes are always huge and life-changing.

This film is even better if you come in with no spoilers and low expectations.

Good chemistry between the lead actors and nice supporting performances help Friends With Kids survive a formulaic story and just-OK filmmaking.

Most important, the relationship between P-Orridge and Lady Jaye comes off as heartfelt, and "Ballad" makes you feel something. Just like art.