Filmed in a gorgeous, dreamlike style and Infused with heavy doses of mysticism and allegory, The Vessel is an impressive effort that loses some of its impact, however, for being so derivative.

A richly uplifting if somewhat rambling portrait of indomitableness in the face of old age and infirmity, Been Rich All My Life will be inspirational to young and old alike.

Confidently dovetailing three strands that depict present and past reality, as well as a dark fictional detour that functions as a blunt real-life rebuke, the film once again demonstrates that Ford is both an intoxicating sensualist and an accomplished storyteller, with as fine an eye for character detail as he has for color and composition.

Another highly entertaining portrait of attractive young Europeans looking for personal and professional fulfillment amidst gorgeous locations.

Though Framing John DeLorean offers a more comprehensive look at a flamboyant subject's life, it doesn't entirely do justice to the tale, and the meta-movie nature of its dramatized scenes does little to help.

There's a terrific tenderness in Travolta's performance, while Cyrus and company are similarly effective.

A polished, finely acted tale of love and class in the south of France.

A missed opportunity on multiple levels, T2 is stylistically an overwrought rehash which relies heavily on over-caffeinated camerawork and flashy effects (cinematographer Anthony Dod Mantle's trademark gritty flair is overwhelmed by a flurry of Dutch angles and freeze-frames) to distract us from its essential paucity of raison d'etre.

It also expresses the anxiety and insecurity of comics conscious of the big issues in life they are expected either to avoid or make fun of in their work. Rogen and Goldberg take the latter approach here, in an immature but sometimes surprisingly upfront way one can interpret seriously. Or not.

Simply designed animation, modeled on the look of cool cartoons of the time such as Daria, adds an extra comic jauntiness. You could say, to use a popular slang term from the 90s, this puts the “mental” back in experimental, but in a good way.

The production is graced by bold performances, lyrical visuals and, most notably, Irving's own words, which have made the transition quite intact thanks to a faithful but still filmic adaptation by writer-director Tod Williams.

Now Batmanglij and Marling deliver another terrific and engrossing venture into speculative fiction, Sound of My Voice.

This is an affectionate portrait rather than a meaningful critical analysis.

The only misstep Jun makes, and it's hard to fault him given the budget, is the mediocre and at times heavy-handed use of music. Still, it's an unqualified success from the heartland.

An insightful and affectionate glimpse into the behind-the-scenes struggles of modern-day winemaking.

Moore stays "on message" here from first shot to last. There is no debate, no analysis of facts or search for historical context. Moore simply wants to blame one man and his family for the situation in Iraq the United States now finds itself in…So the real question is not how good a film is Fahrenheit 9/11 -- it is undoubtedly Moore's weakest -- but will a film help to get a president fired?

There's plenty of time for the viewer to muse on what The Wall might or might not symbolize -- when events finally take an abruptly surprising and violent turn, the tonal shift is unsatisfyingly awkward.

Writer-director Maïmouna Doucouré's captivating but structurally shaky first feature is stronger on setup than development or payoff, becoming less controlled as its opposing forces of tradition and rebellion collide.

Docs like Jed Rothstein's excellent The China Hustle present us with such frequent occasions for outrage that, in the interest of fairness, it's time for a few top documentarians to assemble a five-minute disclaimer to run in front of each new exposé.

The picture has a good shock or two up its sleeve before getting to Laurie's armored, booby-trapped home, and once it's there, it surprises us again.

Will mesmerize some and mystify others, while many will be bored silly. It's not a dream, Kaufman says, but it has a dreamlike quality, and those won over by its otherworldly jigsaw puzzle of duplicated characters, multiple environments and shifting time frames will dissect it endlessly.

In this film, directed by Mike Nichols in one of his most satirical moods and scripted by Hollywood's most politically astute writer Aaron Sorkin, a womanizing, alcoholic, easily tempted bachelor gets elected in a Texas district that doesn't care what he does as long as he brings home the bacon.

This autobiographical tale of a 10-year-old boy coping with his mother's severe illness boasts terrific performances from its three leads -- Joe Pantoliano, Marcia Gay Harden and young Devon Gearhart.

The plot holds no surprises, but the eventual climactic foot chase and showdown suffice (if barely) to satisfy genre expectations.

An evocative examination of the clash between tradition and modernism in the handling of an age-old problem.

Compared to his stellar hit "Ip Man" - a biopic on the Wing Chun master who tutored Bruce Lee - Wilson Yip's more lavishly produced sequel Ip Man 2 is a fistful of hits and misses.

A gloriously inspirational film documenting music’s healing power in Alzheimer patients.

The Nightingale is technically remarkable. Beyond its socio-political context, however, the film offers hardly anything inventive to the familiar generation-gap rite-of-passage dramedy.