La Ronde 2011-style is simply a game and its makers expert gamesmen. The film is never less than intriguing. But the artifice shows all too clearly.

The premise, and the hijinks that follow, are about as outrageous as anything in today's crop of raunchy comedies. But Nørgaard offers them with a much drier wit than Hollywood typically delivers.

A likeably unpleasant slice of adults-only Texas noir, which aims at the funnybone as much as the jugular.

Rising well above the typical making-of feature, the documentary will fascinate buffs when shown alongside the operas themselves.

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

Makes everything in the rival Marvel universe look thoroughly silly and childish. Entirely enveloping and at times unnerving in a relevant way one would never have imagined, as a cohesive whole this ranks as the best of Nolan's trio, even if it lacks -- how could it not? -- an element as unique as Heath Ledger's immortal turn in The Dark Knight. It's a blockbuster by any standard.

Primarily an actors' showcase, it does at least provide the opportunity for the virtuosic John Ventimiglia (The Sopranos) to strut his stuff in a well-deserved leading role.

The scattershot results, while admittedly providing plenty of fascinating details, doesn't quite do its subject justice.

Although there are numerous interviews with various people both directly involved with or peripheral to the action, the most compelling figure on display is a particularly articulate coach who proves all too determined to have his protégé succeed. The fact that he works strictly on commission is certainly no small element of his zeal.

Likely to spur discussions about workplace safety, employee rights and broader awareness of sexual predation, Compliance is also a suspenseful psychological drama for viewers prepared to tolerate its extremes.

A beguiling romantic fantasy about the creative process and its potential to quite literally take on a life of its own, Ruby Sparks performs an imaginative high-wire act with finesse and charm.

A class-conscious Scandinavian crime film whose impact is dulled by some extraneous subplots, Daniél Espinosa's Easy Money nevertheless makes a solid vehicle for Joel Kinnaman.

The Queen of Versailles will prompt loathing not only among the so-called 99 Percent, but among those in the top 1 percent who would like someone more sane to represent them on camera.

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.