More aggressively violent and thankfully less mythology driven than previous installments, Underworld: Awakening is strictly for the converted.

Every character here is so squeaky-clean, and the prejudice as depicted is so toothless and easily overcome, that the film feels like a gingerly fantasy version of what, in real life, was an exceptional example of resilient trail-blazing.

The Grey, a man's-man of a genre picture that will satisfy the action audience while reminding more discerning viewers what they saw in director Joe Carnahan's decade-old breakthrough, "Narc."

Despite dynamic subject matter, prime archive material and insightful interviewees, Whitney Sudler-Smith's intrusive presence onscreen somewhat trivializes his documentary tribute to Halston and the decadent disco years.

Dori Berinstein's tender but sharp portrait finds a lot of depths in the woman whom many see as a camp figure.

A grindhouse quality that makes Loosies almost fun in flashes. But flashes are all they are -- pleasures even more fleeting than an off-brand smoke bummed from strangers in an alley.

Joe Berlinger and Bruce Sinofsky's final film about the West Memphis Three demonstrates how the first two docs played a role in galvanizing national support to free the wrongly convicted men.

The lead role of a working class former smuggler who dirties his hands again to save his family fits Mark Wahlberg like a glove.

Relentlessly unpleasant and nihilistic in its approach and execution, The Divide is best appreciated as a virtual instruction manual on how not to behave during a crisis.

A teens-in-trouble thriller with barely enough momentum to make it to the end credits. Performances and script are made-for-cable grade.

Staggeringly cornball and squeaky-clean even when flirting with such issues as interracial sexual rivalries.

Never gets off the ground, trotting out the same predictable twisting heads and psycho-babble without a whiff of originality or discernible visual flair. As a result, the would-be thriller proves as scary and unsettling as a slab of devil's food cake - only considerably less satisfying.

As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.

A hilarious date movie for couples of all orientations.

The fact that Norwegian Wood is based on Haruki Murakami's 1987 international best-seller should encourage many viewers to give this long, elegantly shot, sporadically involving Japanese film a try.

Shah Rukh Khan's foray into bad-boy territory is all swagger with not much substance.

For those willing to take the plunge, it is a deep and haunting work that lingers in the memory.

First-timer Dee Rees offers a fresh take on the overfamiliar coming-out genre.

An alien invasion flick that evidently expects dramatic shots of a depopulated Red Square to make up for a flatlining screenplay and the absence of even a single compelling character.

Artist evinces unlimited love for the look and ethos of the 1920s as well for the style of the movies. The filmmakers clearly did their homework and took great pleasure in doing so, an enjoyment that is passed along in ample doses to any viewer game for their nifty little conceit.

Wim Wenders' stylish 3D mirrors the bizarrely captivating world of choreographer Pina Bausch.

Best of all, von Sydow is absolutely wonderful, with the great veteran actor clearly relishing this very unusual role as he darts, skulks and, in a stealthy way, mugs across town. Without saying a thing, he dominates the middle part of the movie.

Jolie deserves significant credit for creating such a powerfully oppressive atmosphere and staging the ghastly events so credibly, even if it is these very strengths that will make people not want to watch what's onscreen.

Whatever its missteps, this is a film that kids, middle-aged adults and grandparents can all see -- together or separately -- and get something out of in their own ways. There are precious few films that fit this description today and hats off to Spielberg for making one.

Every bit as frantic, frenetic, groan-inducing and all around grating as its two predecessors.

Its raw performances and dirty-realist immersion in a harsh environment keep Cook County engrossing.

Dragon Tattoo is too neatly wrapped up, too fastidious to get under your skin and stay there.

Cast and crew's investment in the story's tragedy and its ensuing moral debates is evident in every frame, but the film isn't fully successful in generating the same depth of feeling in viewers.