Should be intriguing to all who know the family, as well as to cineastes yonder at the arty film schools who will lap up its elliptical/self-reflexive style. Normal people will simply walk out on it.

Displaying his usual mixture of broad, sitcom-style humor and soapy melodramatics, it's an entertaining if hokey effort that his target audience will eat up.

After a career excelling in highbrow urban romances, Hong Kong director Peter Chan ("Perhaps Love") earns his spurs in his march into war epic territory.

The film bears an undeniable stamp of authenticity in its depiction of the romantic crisis suffered by two twentysomethings in New York's ever picturesque Greenwich Village.

Only the film's slow pace softens its powerful message.

A popcorn movie that reaches back to the fantasy epics of old and forward into the digital future, where the word "unimaginable" no longer exists.

The movie so deftly mixes sentimentality, romance and bathos in just the right measures that her fans and maybe new ones will enjoy the new Miley.

The film is essential viewing for anyone who cares about the fate of the mountain region and the legacy of the Dalai Lama.

A loud, disjointed and not terribly funny comedy, which probably is what one expects with a title like that. The unfortunate thing is, it didn't need to be.

Moore and Neeson beautifully underplay their roles, lending screenwriter Erin Cressida Wilson's ("Secretary") dialogue an unexpected, palpable poignancy.

Intriguing mix of engaging drama and wonderful dialogue, all infused with stirring hints of the supernatural.

A 3D movie that will intrigue kids and adults alike but might play raggedly in both camps.

Surprisingly hard-hitting and revealing. The topic is a bit specialized to draw a wide audience, but those who see the movie will definitely enjoy the intrigue depicted.

Stylized, pure cinematic retelling of this ancient tale of misogyny will enchant some and bore others.

A dramatic story, to be sure, but not exactly grippingly told by its first-time filmmaker.

Never really gets up to speed on any engrossing level, save for Michael Hardwick's notable cinematography.

The actor's compelling self-exposure, physically and emotionally, draws us into such a degree that we genuinely come to care about his well-being.

Comprising reclaimed bits from "Blade Runner," "A Clockwork Orange" and "Children of Men" and glibly served up with hyper Guy Ritchie attitude by first-time feature director Miguel Sapochnik, the resulting in-your-face mess never knows what it wants to be when it grows up.

The mishmash ends up as a thoroughly unfunny adult cartoon.

A likable movie for kids that will make adults chuckle as well because of the movie's key ingredient -- wit.

The result is a character-driven mystery of considerable emotional power, often harrowing and always compelling.

While winning no points for originality, Baumbach and his co-conspirator in the script, Jennifer Jason Leigh -- have created an all-too-convincing portrait of a 40-year-old man in emotional freefall.

The film, narrated ably by Leonardo DiCaprio, who seems to share the audience's amazement at what is appearing onscreen, is over too quickly in a mere 43 minutes. So line up and see it again.

The vigor and pace is electric, and the movie features three showy performances by Kristen Stewart, Dakota Fanning and Michael Shannon.

A cliched, talky variation on the 1936 Bogie classic "The Petrified Forest," with scant dramatic tension but gallons of spilled blood on the menu.

While Demme's latest doc might not fully express the sublime arc of Young's career, it's another worthy contribution to the artist's lifelong body of work.

The director also pulls career-high performances from Mezzogiorno and Timi that are, respectively, tragic and mesmerizing.

A gem whose intelligent, gentle, deadpan humor is entirely irresistible.