Christopher Rouse's rapid-fire editing nervously stitches the stunts, chases, fights and confrontations together. It's a remarkable film.

A superb murder mystery, with twists coming thick and fast yet always at the right moments.

Though the intended hilarity is forced and flat, there's a sweetness to the silliness.

The scenes between Pattinson and de Ravin exude genuine charm.

This academic, albeit beautifully shot, exercise will appeal mainly to those who like their Greek tragedy served with no frills or explanations and a bare minimum of dialogue.

It offers a much needed personal perspective on a subject that is too often reduced to political arguments.

Heartfelt but dramatically tepid tale.

Hamm is unable to do much with his underwritten role, and the present-day sequences don't really hold interest.

A fantastical romp that proves every bit as transporting as that movie about the blue people of Pandora, his "Alice" is more than just a gorgeous 3D sight to behold.

Here, due in large measure to a highly derivative screenplay, the director allows several reckless, unprofessional cops drive the movie into utter nonsense.

Kells proves that in the increasingly high-tech world of feature animation, there still can be a place for old-time tradition.

Rather than delving deep into its subject, the film loses focus by concentrating on the feelings of Harlan's descendants rather than a deep analysis of the man himself.

Definitely has its amusing moments, but ultimately all that improvised shtick gets mighty tired without any real break in the nonaction.

What's most immediately remarkable about the film is the raw intensity of its hyper-realistic encounters, hugely enhanced by the superb acting of newcomer Rahim.

Part zombie movie, part apocalyptic bioterror, part military conspiracy thriller, the refit hybrid doesn't stint on the visceral kicks demanded by contemporary audiences while remaining reasonably true to those Romero roots.

Saving the day is Harrelson's low-key, rooted performance, adding an unexpected layer of poignancy when things take a decidedly darker turn.

Four terrific performances make the transition to a U.S. setting go smoothly for British director Udayan Prasad.

The beautifully acted serio-comedy takes a potentially smirky premise -- a chance dirty phone call between an introverted writer and a persuasive mystery woman becomes a meaningful long-distance relationship -- and turns it into something that really reaches out and touches you.

At its plainspoken best, the U.S.-and Thailand-shot film is an eye-opening history lesson more than an atmospheric thriller. It's nonetheless chilling as it exposes the machinations between countries with no official relationship.

Despite its undeniably fascinating elements, Prodigal Sons attempts to deal with so many issues at once that it inevitably lacks focus. But there's no denying that it offers a hook that other similarly themed docs could only envy.

It's a pleasure to experience Scorsese as a circus master. One just hopes he doesn't continue in this vein.

Simply weird. The funny has gone missing.

Like its characters, Good Guy is sharp, fun and pleasant to behold, and its recreational, apartment and workplace locales are appropriately slick and showy.

Suffers from an awkward, plodding structure that robs it of much of its dramatic effect.

This is a slicker, shallower exercise. It's hypnotic as it unfolds, but once the credit roll frees you from its grip, it doesn't bear close scrutiny.

Fortunately, Lisa Crafts' colorful animation intermittently brings welcome charm and life to this otherwise dreary tale.

Fascinating on social and theological levels, the film is less compelling as a straightforward narrative. Still, adventurous filmgoers will be rewarded by its unusually open-ended storyline.

Not bad enough to be considered a camp, guilty pleasure, it's more of a dull, defanged dirge with the reliably intriguing Benicio Del Toro and Anthony Hopkins turning in oddly disaffected performances.