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.

Hill shows less snark and agitation than usual here, and the restraint serves him well.

The storyline is hardly original, but it does provide the opportunity for Rebeck to unleash wickedly scathing observations about the sort of self-obsessed show business types who pursue their own interests no matter who it hurts.

After quite a few tedious detours and distractions, when the film finally gets down to the business of a climax at a gathering of elite European diplomats in a precariously perched Swiss mountain castle, it becomes not half-bad.

The impact of spectacular action on striking international locales is moderated somewhat by the repetitive nature of the challenges faced by this rebooted team of American agents.

The result proves to be as appealing and effervescent as a flute of flat champagne.

A compelling and disturbing drama about some elemental male issues.

Their scenes together are the film's best, with Theron and Oswalt, who have very different tempi and temperatures as performers, parrying and thrusting with great expertise.

Crazy Wisdom offers a perceptive, if one-sided, perspective on Trungpa's impact on American spirituality and the arts.

Ralph Fiennes directs and stars in Coriolanus as William Shakespeare's Rambo in a production that delivers heavyweight screen acting at its best.

It is one of the few films so visually absorbing, felicitous shot after shot, that its emotional coldness is noticed only at the end, when all the plot twists are unraveled in a solid piece of thinking-man's entertainment for upmarket thriller audiences.

This story of suffering and almost inadvertent humanitarianism is harrowing, engrossing, claustrophobic and sometimes literally hard to watch.

As easy on the eyes and ears as it is embalmed from any dramatic point of view.

This is, in a way, a real horror film about everyday things and a disconnected family.

A gloomy but perhaps realistic depiction of the forces of corruption and deceit that produce environmental catastrophes.

As violent, amoral and misanthropic as a Jacobean play, Outrage is Takeshi Kitano's first yakuza flick since "Brother" (2000), and arguably his best film in a decade.

Besson responded to something in the story that prompted him to step outside his comfort zone, but exactly what that was is unclear in this well-intentioned but pedestrian retelling of a stirring true story.

Arguably the director's least typical film, it doesn't dodge the potholes of earnest sentimentality and at times overplays the whimsy. But the uplifting tale has heart, humanity and a warmly empathetic central performance from Matt Damon.