Enough Said confirms filmmaker Nicole Holofcener’s status as one of America’s best stealth satirists.

Unfortunately, the film promises more fun and laughs than it delivers, and this meal tastes like too many that have gone before it.

What becomes increasingly apparent is that Gordon-Levitt hasn’t exactly decided what Jon’s problem is, in a character that seems partly an expression of male wish fulfilment.

Fittingly, it’s finally a film about transience and continuity.

Somewhere in literary afterlife, dear reader, Jane Austen has just rolled over and reached for her musket.

The 3-D is a pain, and the excitable editing, slo-mo and speeded-up action frustrate attempts to watch the athleticism on display, but the last half-hour takes it up a notch.

Subtly crafted and compelling, but it suffers from a case of split personality.

An ambitious, if uneven, experimental sci-fi romance that is less a thought-provoker than a dazzling juggling act.

Continuing directly from where 2010’s "Insidious" left off, Insidious: Chapter 2 follows the further misfortunes of the Lambert family with diminishing insidious rewards.

There isn’t a single genuinely sharp sequence in the entire movie. The casting of Robert De Niro as an ex-Mafioso hiding in witness protection is witty in only the silliest, most superficial way. It’s a joke with its own tinny, built-in laugh track.

Not much happens in Drinking Buddies, which, frankly, is refreshing.

Outré love stories are great, as are love stories that make viewers squirm. But they have to ring true emotionally, and despite its talented cast, Adore does not.

The quickest and easiest way to humanize an unlikeable movie character is to give him a lovable dog, and so it goes with Riddick.

Winnie begins as hagiography and ends in hellish confusion.

Évocateur is never less than watchable. At the same time, you have to wonder who’s going to watch it. In an era when fame seems measured in increments even shorter than Warhol’s 15 minutes, a 91-minute documentary about a bug-eyed, chain-smoking sociopath who soared high and fell fast so long ago smacks of folly and misdirected energy, like trying to make a biography out of a footnote.

At its best moments, Our Nixon captures the split-personality of the times, and the apparently innocent face of corruption.

By the time the movie actually arrives at its finest moment – a nearly two-minute single shot from the Mustang’s hood as it chases the villain’s van through dense traffic – you’ve become so numb to speed and sensation that you may barely notice.

Sadly, the movie’s lack of a clear identity – is it a thriller, soap, legal drama or action chase movie? – makes it difficult to understand why anyone should care.

Where Corneau flirted with erotic tension, De Palma flaunts it. Where Corneau went for nightmarish reality, De Palma does noirish dreams.

A charming oddity starring Paul Rudd and Emile Hirsch, often feels like an al fresco stage play. It’s an intimate two-hander with lots of dialogue, humour and poignant revelations, set against a backdrop of rugged woodland beauty.

There are sequences in Hong Kong director Wong Kar-wai’s new film, The Grandmaster, that are as gorgeous as anything you’ll see on a screen this year, or perhaps this decade.

Character development and plotting are rudimentary, though the tongue-in-cheek never gets dislodged while the body count rises.

The World’s End isn’t perfect – – but its best moments leave the bulk of recent American “event movies” gasping in the dust.

Within this bloated fantasy hodgepodge, there are few grace notes: In the role of the creepy fortune teller, Madame Dorothea, CCH Pounder is evil fun. And a few special effects, including a Rottweiller who turns into a skinned hellhound, leave an impression. Otherwise, Mortal Instruments manages to occupy 130 minutes of frantic, numbing, activity.

A pitch-perfect comedy.

The Butler may be a sanctimonious cartoon, but it points to events in the civil rights struggle that were as grotesque and extraordinary as any fiction can invent.

If Jobs had been a producer on Jobs, he would have sent it back to the lab for a redesign.

Even in death, Kato has been harassed. In one of this movie’s many unsettling scenes, a pastor interrupts his funeral to condemn the dead man to eternal damnation.