A true-life tale of espionage so brazen and crucial to World War II's outcome one marvels that it isn't better known; but the documentary would likely work better as a feature film.

A breezy, keen-to-please attitudes prevails, and director James Bobin (The Flight of the Conchords, Da Ali G Show for TV) moves things along with good cheer.

Neither its depiction of the world of squares nor its embrace of rule-flouting self-affirmation rings true, so the inevitable happy ending offers little joy.

A fabulous and passionate love letter to the cinema and its preservation framed by the strenuous adventures of two orphans in 1930s Paris.

Silver Tongues isn't a film that ever tries to be especially palatable. Its cynicism is of an unusually bitter, even nihilistic flavor, in the vein of early Neil Labute. This leaves an intriguing, memorable but naggingly unpleasant aftertaste.

Although the film recounts an intriguing slice of social history, it is too haphazard and repetitive to be truly memorable.

Likeably shaggy, it has arthouse appeal and a winning cast.

A must for those with an interest in modern design.

Even with the addition of new characters, such as the ones voiced by Brad Pitt and Matt Damon, George Miller's animated sequel just isn't very funny.

Harrelson goes full bore from the opening scene and there are no scenes he is not in. But the effect is wearying rather than exhilarating.

In the end, given how little goes on in Breaking Dawn - Part 1 despite the major plot points, what you're left with is to gaze at the three leads, all of whom have their constituencies and reasons for being eminently watchable. The only hope is they'll have more to do next time around.

The portrait is dispiriting overall, inspiring little affection from viewers, but feels authentic and fair.

After multiple "Saw" franchise releases, writer-director Darren Lynn Bousman goes it alone for 11-11-11, with at best tepid results elaborating an unconvincing premise.

An informative if uninvigorating look at the violinist Itzhak Perlman calls "the first true modern virtuoso player," Peter Rosen's God's Fiddler: Jascha Heifetz will draw only the most ardent classical fans to its niche theatrical run but should please a wider audience after making its way to educational TV.

While the documentary stops short of hagiography, it offers a delicate portrait of a man with an extraordinarily youthful energy and enthusiasm for music, people and life.

Leave it to the folks who brought us "Wallace & Gromit," "Chicken Run" and "Flushed Away" to bring a delightful blast of fresh air to the conventional Christmas genre. Aardman's Arthur Christmas is that and more - an endlessly amusing 3D, CG-animated Yuletide romp with lively innovation at every turn and a dream voice cast headed by James McAvoy, Hugh Laurie and Bill Nighy.

Immortals is not only entirely without humor, but is dominated by a lot of huffing and puffing, thunderous self-importance and windy Socratic quotations about the immortality and divinity of men's souls. You just have to roll your eyes after a while.

Jack and Jill is witless and sloppily constructed, getting by on fart gags, homeless jokes, Latino stereotypes and that old favorite, explosive chimichanga diarrhea -- and no, not in an inspired "Bridesmaids" way.

The cast is fine, but the roles are superficial and too concentrated on the film's theme.

This is clearly not a film made for everyone, but for a fortunate few, it will feel like a cleansing in nature.

The film, both in scope and tone, has a downsized vibe that would have made it a much better fit on an ABC Family than in a movie theater.

A thoughtful piece of advocacy journalism.

Driven by a brilliant, ferocious performance by Michael Fassbender, Shame is a real walk on the wild side, a scorching look at a case of sexual addiction that's as all-encompassing as a craving for drugs.

The script makes no attempt to assert its plausibility or realism; it is, instead, refreshingly frank about what it is, a simple, workable framework for the melees and mayhem.

It satisfies not only in the tradition of yarns boiled hard and wry, but as a savvy comment on fame and ambition.

An amusing yet lightweight political farce.

But above all it's a portrait of stunned grief, of the devastation families endure, whether through violence, accidents, illness or incarceration.

This surprising collaboration between director Clint Eastwood and "Milk" screenwriter Dustin Lance Black tackles its trickiest challenges with plausibility and good sense, while serving up a simmeringly caustic view of its controversial subject's behavior, public and private.