Historical drama set in the early days of the French revolution is intelligent Euro eye candy at its most lavish.

A mesmerizing psychological thriller bulging with twists, turns, nasty insinuations and shocking revelations that might have leapt from the pages of a Patricia Highsmith novel, The Imposter is all the more astonishing because it actually happened.

A campaign movie for viewers who, if they care about politics at all, certainly don't require the full Sorkin treatment.

Though the film sets out only to chronicle the group's life, not the history of the disease, some viewers will wish for a parting message making sense of where things stand today, with the disease mostly vanished from headlines but still destroying lives around the world.

The live performances in particular feature an energized sheen sometimes missing from Perry's music videos featuring the very same songs.

It's familiar, drawn-out shtick, and the humor lacks the subtlety of the first and best Ice Age, but there are some visually inventive high points.

Inevitable or not, it's fun watching two middle-aged lunkheads reverting to adolescent competitiveness, and the fun is compounded by secrecy.

The Pact demonstrates both why people respond to horror and why it's so routinely scorned.

Madea is starting to look a little tired.

Although Martin Sulik's drama sheds light on typically unseen populations of Eastern Europe, the film, heavy on "Hamlet" allusions, may be overstuffed.

Savages represents at least a partial resurrection of the director's more hallucinatory, violent, sexual and, in a word, savage side.

A tour-de-force turn from the persistently terrific Hugo Weaving lights a fuse under Last Ride, a spare and wrenching road movie delving into the complexities of a fraught father-son relationship.

While all the interview subjects are enthusiastic, the overall lack of familiarity with Rodriquez's personal background and career collapse begin to drag.

The raunchiest, funniest and most enjoyably nonjudgmental American movie about selling sex since "Boogie Nights."

This sophomore feature is a stumble backwards in terms of maturity.

Not too many films serve up laughs that just keep on rolling with regularity from beginning to end, but Seth MacFarlane's directorial debut does so and without any feeling of strain.

It's very much an art piece, to be sure, but it feels like a genuine one that, while meditated, speaks fluently and truly for the place, people and culture it so indelibly depicts.

While the two leads deliver the goods and manage to combine a frisky sense of first love with the movie's gloomier arc, they are well-served by a terrific supporting cast.

Genre enthusiasts will lap up the mixture of action and fantasy, while history buffs who don't mind a bit of rewriting will dig into an alternative spin on the Civil War period.

Playing an emotionally burdened small-town Catholic priest in culturally isolated 1950s Ireland, Martin Sheen does his best work since "The West Wing" in Thaddeus O'Sullivan's Stella Days.

With its sharp script and bittersweet humor, the audacious premise feels fresh enough to earn a large word-of-mouth audience among moviegoers who would normally avoid a more conventional rom-com, potentially becoming a left-field breakout hit in the mode of "Juno" or "Little Miss Sunshine."

Kirby Dick's shocking investigation into widespread sexual assault in the U.S. military is an urgent call to action.

As overcranked as it is -- the film is directed as if it were an action drama, with two or three times more cuts than necessary -- People Like Us has a persuasive emotional pull at its heart that's hard to deny.

Allen the writer-director has gone tone-deaf this time around, somehow not realizing that the nonstop prattling of the less-than-scintillating characters almost never rings true.

With enough wedding-related shenanigans to pull in the date crowd, the guffaw-to-gag ratio remains relatively respectable, though there's nothing here that hasn't been attempted many times over.

An insightful film about the creative talents that have made hip-hop an original, enduring American musical tradition.

The primary appeal of Americano lies in witnessing the attempt of a famous progeny to forge his own creative path, as Demy's struggle with artistic inheritance resonates throughout unmoored Martin's voyage between past and present.

Matthew Akers' film is a personally revealing look at an artist most famous for maintaining stone-faced silence for three months.