Hough’s dancing is far more impressive than his acting, and BoA, despite her perky sexiness, is an even less compelling screen presence. But they certainly move well together, and that’s pretty much all that matters here.

Etxeberria is a good match for the film's Cassavetes-inspired character study. She's no Gena Rowlands, but this woman is clearly under the influence of something that might destroy more lives than hers.

Almost all of the performances achieve perfect pitch. This is a tribute to Lundgren’s direction, and he also makes excellent use of the serene Oregon locations.

Funny, fascinating, and packing a surprisingly poignant twist, the doc will get plenty of free publicity and, for unsqueamish moviegoers, will live up to the hype.

One of the aspects that keeps Time from projecting an advertorial vibe, its indifference to outside voices, may also leave casual fans wanting a bit more.

The writer-director’s affection for his characters — the script is loosely autobiographical -- is both palpable and infectious.

Action takes a backseat to local color in well-acted drama.

Has its entertaining moments and boasts pungent performances from such supporting players as Ron Perlman and John C. McGinley, but never quite succeeds in managing its uncomfortable tonal shift from dark comedy to true-crime thriller.

Lam’s filmmaking team deliver thrills on schedule with solid effects, crisp shooting and fast cutting.

Creepy enough to get the job done, but not sufficiently extreme to fulfill the initial setup.

Pfister, who, like his mentor Nolan, adamantly continues to shoot on film (not digital), shows a sure hand at staging scenes, creating visuals and setting a tone -- if only all the diverse elements here fit comfortably under the same tent.

Wallace made a lot of shrewd decisions to sock this movie home, but he can’t entirely overcome the dramatic thinness of the original material.

A slick, occasionally hilarious but ultimately uneven appraisal of France’s favorite extramarital pastime.

Despite its careful control of tone and a raging central performance by Ciaran Hinds, which is actually sufficient reason to see the film, this story of a man who plunges into childhood memories in the aftermath of his wife’s death remains admirable but wingless.

Recognizable human behavior is not this film’s forte -- which wouldn’t be a problem if something else would take its place but Punch never finds the right tone for the heterogeneous material, with sweetly melodramatic scenes alternating with high drama, some light action and farce.

Debuting directors Damon Maulucci and Keir Politz have a better sense of storycraft than the filmmaking on display.

Whatever doubts the viewer may share about the true circumstances of this tragic event are quickly erased by the ineptness with which the story is dramatized.

Disneynature’s Bears combines sweeping vistas and remarkably intimate wildlife photography to typically stirring effect.

This fascinating tale is told with uncommon depth and nuance.

Despite its occasional missteps, the film relates its important and sadly too-little-known story with skill and efficiency.

Though its even-tempered account may be more thorough than print and TV coverage at the time, the doc doesn't offer anything dramatic enough to draw many eyeballs at this late date.

Finely acted and minutely observed, Ilo Ilo certainly has the texture of real life. The performances feel authentic, the emotional shadings agreeably nuanced.

Over the last couple of reels the film shakes off its self-conscious inhibitions and displays some healthy unruliness, and just as we're warming to a group of characters whose indulgences have been not only culinary but emotional, it's all over.

In his most effective full star turn in perhaps a decade, Kevin Costner dominates as the greenhorn general manager of the beleaguered Cleveland Browns.

The story's conclusion benefits from a closure that is satisfying despite — and even because of — its predictability.

The film is elevated by the quality of the performances, with Breslin and Henley movingly affecting as the closely bound sisters and Sorvino convincingly conveying her character’s inability to function.

Half of a Yellow Sun is the kind of ambitious literary adaptation that wants it all kinds of ways, not all of them compatible.

The plot gets itself tangled up in multiple villain strands, but in the main this installment is emotionally weightier and more satisfying than its predecessor.