The doc has little to say about the Michelin ranking system that hasn't been said, but offers enough behind-the-scenes interest to entertain foodies and inspire a few additions to their dining-experience bucket lists.

Despite an intriguing setup, sharply drawn central characters and a lead performance from the luminous Jennifer Lawrence that elevates the material a few notches, House at the End of the Street is a by-the-book horror thriller that's low on scares and suspense.

The devastating effects of head injuries in sports are detailed in Steve James' wrenching documentary.

Though not novel enough to attract non-devotees of America's Pastime, the film should please fans on the small screen.

A compelling portrait of an entire nation being kept in captivity and ignorance.

Cheerfully yet poignantly exposing the struggles, anxieties, disorders and obsessions of ordinary people, this is a film as odd as it is charming.

Moviegoers who liked Taken and want more of the same will get precisely that.

Eastwood is vastly entertaining as an old-fashioned scout who disdains computers and fancy statistical charts in favor of his own time-tested instincts.

It's a nice little human interest story, but hardly seems worthy of this full-length treatment.

She's (Milla Jovovich) constantly being besieged by a seemingly never-ending series of monsters, and we -- at least every couple of years or so -- are forced to sit through yet another installment of the mind-numbing series.

The bottom line: Mirthless and unmoving drama about a depressed stand-up comedian finding a new life as a kindergarten teacher.

A heartfelt but rather generic coming-of-age dramedy.

Bill Murray as FDR? It takes a few minutes to get used to, but once he settles into the role of the 32nd president, the idiosyncratic comic actor does a wonderfully jaunty job of it in Hyde Park on Hudson.

The Impossible is one of the most emotionally realistic disaster movies in recent memory -- and certainly one of the most frightening in its epic re-creation of the catastrophic 2004 Indian Ocean tsunami.

While it's way behind the "Pulp Fiction" curve, Seven Psychopaths can be terrifically entertaining.

Absorbing if somewhat predictable in its dramatic trajectory, Jacques Audiard's follow-up to his powerhouse prison yarn "A Prophet" benefits from unvarnished, forthright performances from Marion Cotillard and Bullhead hunk Matthias Schoenaerts, as well as from the utterly convincing representation of the former's paraplegic state.

The film mines both the relationship issues and the Upper East Side neighborhoods of Woody Allen's best work, but could use an added dose of the Woodster's jokes to spruce up a self-serious scenario that hits the right notes about half the time.

A minimalist, image-based character study that is almost impossibly fragile and yet emotionally robust, Francine is a legitimate discovery.

In the last 15 minutes of the film, he burns up some of the credibility he established by not pushing extreme situations too far earlier on.

Not quite soaring into the heavens, but not exactly crash-landing either, Cloud Atlas is an impressively mounted, emotionally stilted adaptation of British author David Mitchell's bestselling novel.

Argo is a crackerjack political thriller told with intelligence, great period detail and a surprising amount of nutty humor for a serious look at the Iran hostage crisis of 1979-81.

Hotel Transylvania checks in as an anemic example of pure concept over precious little content.

Their physical disparity notwithstanding, Gordon-Levitt and Willis both come across strongly, while Blunt effectively reveals Sara's tough and vulnerable sides.

A coming-of-middle-age comedy running on somewhat less than a full tank, Liberal Arts possesses enough comedic moments to approach crowd-pleasing status.

Dazzlingly designed and staged in a theatrical setting so as to suggest that the characters are enacting assigned roles in life, this tight and pacy telling of a 900 page-plus novel touches a number of its important bases but lacks emotional depth, moral resonance and the simple ability to allow its rich characters to experience and drink deeply of life.

Nothing about the plot is novel, but the film easily maintains a low simmer that picks up in the final act, as Miller has to fight to keep his sinking ship staffed.

Jamie Linden's minor-key serio-comedy pulls us in eventually, delivering its share of poignant insights and melancholy reflections, even if it does all feel a tad familiar.

An intelligent, visually sumptuous drama that embraces the grandeur of the Australian literary classic upon which it's based.