The movie finds its humor in the royals' shock at Hyde Park's lacking decorum, and a hint of FDR's political savvy.

A movie as fun as it is flawed.

It's an audacious mashup that Baz Luhrmann would approve, lending freshness to Tolstoy's too-often-told tale.

Nobody dies softly here; they're mutilated, splattered in blood and vomit, set up by people who'll get theirs soon.

It's a familiar, straightforward story, carried from start to finish by Winstead, who makes Kate an interesting study in contradictions.

Silver Linings Playbook is a bracing shaken cocktail of awkward failure and accidental success, with Pat and Tiffany making a refreshing and unlikely couple to root for. We just want them to be abnormal together, share their favorite antidepressants, maybe even dance to Stevie Wonder.

Never has 3-D illusion been used to such pure storytelling effect.

Rise of the Guardians is an all-star addition to holiday movies lists but the real question is: Which holiday?

It's enough to make Kim Jong ill.

How many surprises and peaks can Walken possibly have left, after so many movies and memorable roles? Well, there's this one.

The Sessions is often brazenly funny, not from shocking dialogue but characters speaking and reacting the way real people do, especially with such a flustering subject as sex.

Lincoln is like a thoroughly researched poli-sci term paper come to life, with interesting personal material about the participants relegated to footnotes.

This Must Be the Place is a movie existing in a zonked-out realm where reality smashes head-on with a train-wreck hero too strange to be real, unless you're the love child of Ozzy Osbourne and the Cure's Robert Smith.

The movie's assured direction by Sam Mendes can't be underestimated.

Exhilarating drama, and a triumphant return to glory for both Zemeckis and Washington.

The movie's first half is its funniest, as Moore sets up this alternate low-resolution universe.

Cloud Atlas, surely the most incoherent waste of time and money on screen this year.

Alex Cross is slipshod cinema hoping to capitalize on a star out of his orbit here.

I've watched Sleepwalk With Me twice now, each time impressed with Birbiglia's confidence in revealing so much about his craft and himself, and the freely associated style with which he does it.

The relevant question now isn't who John Galt is, but how much demand there will be for what the producers supply.

It's all harmless, if not entirely fun.

Sinister is basically a collection of bogus snuff films linked by standard haunted house tricks - everything creaking and slamming, with the power conveniently shut off.

Writer-director Martin McDonagh's followup to his more cohesive "In Bruges" is a middle finger to cliches "Pulp Fiction" wrought, while garishly reveling in the same hyper-ironic, pop referenced ultraviolence it lampoons.

Argo works superbly on two levels, first as a white-knuckle re-enactment of events in Iran and scrambling strategies in Washington.

Frankenweenie is stitched together with love and a bit raggedy, like Sparky the dog in question.

I adore The Perks of Being a Wallflower for its honest, unsentimental feel, which gets stretched a bit in the revelatory finale, but by then I didn't mind.

Go see Won't Back Down and enjoy it. Just don't believe it's anything more than a stacked deck with a lot at stake.

The Queen of Versailles leaves viewers with one feeling about the Siegels: Let them eat stale cake.