The action sequences are strictly pro forma and -- despite the sleek killer's resemblance to the similarly lethal heroine of "La Femme Nikita" -- this dull effort lacks the excitement generated by any of its incarnations.

Oroves nimbler and truer to its origins than last year's "Rodrick Rules."

The outcome is engaging enough, although not entirely satisfying from either a genre or narrative standpoint, lacking both substance and a degree of imagination.

Carol Morley's sadly fascinating Dreams of a Life, which plays like a more artful cousin to TV's true-crime documentaries, slowly assembles a portrait of Vincent, unfolding in a way that should earn fans in its niche theatrical run.

More comedic drama than midlife romantic comedy, rather literally titled Hope Springs holds few surprises but delivers plenty of warmth.

While Big Boys addresses the extent to which journalists (particularly in the U.S., Gertten believes) too readily accept the claims of powerful entities, the film misses the opportunity to explore this issue in a more universal way.

Jones is great in the part, even if this movie doesn't quite prove she should be carrying films on her own, and the actress makes her character's clumsy heartache feel like more than a plot point.

Burning Man takes its time getting us to feel for a troubled character but gets the hook in solidly once it decides to.

A grindhouse slasher picture that swings from dull to ridiculous without finding any pulpy pleasure in between.

A coming-of-age story without any clear epiphany, Goats meanders rather aimlessly through 92 minutes of running time.

Ben Stiller and Vince Vaughn play the guys they always play in this sci-fi comedy misfire.

Abercrombie & Fitch model Guzman looks every bit the metrosexual romantic lead, but also makes a credible partner for So You Think You Can Dance star McCormick. Fortunately, neither is called upon to stretch too far in the acting department and both are able to get by with good looks and flashy moves.

Anne Émond's quietly raw Nuit #1 begins as a highbrow sex film but quickly becomes something much more interesting.

A disability-centric documentary that moves viewers without resorting to trite devices, Seung-Jun Yi's Planet of Snail takes a condition most of us would find unbearable and demystifies it while finding room for poetry.

Clearly aiming for high artistic ground, the film doesn't even satisfy on an arousal level, with the discreet nudity and endless yakking not exactly proving a turn-on.

French farce is alive and reasonably well in 2 Days in New York, a madcap inter-family romp that deftly keeps many comic balls in the air for a good hour, before dropping some in the final stretch.

Lee's latest rambles through almost two hours of unfocused drama, burdened with endless didactic editorializing, before lurching out of nowhere into ugly revelations and violence.

La Ronde 2011-style is simply a game and its makers expert gamesmen. The film is never less than intriguing. But the artifice shows all too clearly.

The premise, and the hijinks that follow, are about as outrageous as anything in today's crop of raunchy comedies. But Nørgaard offers them with a much drier wit than Hollywood typically delivers.

A likeably unpleasant slice of adults-only Texas noir, which aims at the funnybone as much as the jugular.

Rising well above the typical making-of feature, the documentary will fascinate buffs when shown alongside the operas themselves.

A polished, finely acted tale of love and class in the south of France.

Makes everything in the rival Marvel universe look thoroughly silly and childish. Entirely enveloping and at times unnerving in a relevant way one would never have imagined, as a cohesive whole this ranks as the best of Nolan's trio, even if it lacks -- how could it not? -- an element as unique as Heath Ledger's immortal turn in The Dark Knight. It's a blockbuster by any standard.

Primarily an actors' showcase, it does at least provide the opportunity for the virtuosic John Ventimiglia (The Sopranos) to strut his stuff in a well-deserved leading role.

The scattershot results, while admittedly providing plenty of fascinating details, doesn't quite do its subject justice.

Although there are numerous interviews with various people both directly involved with or peripheral to the action, the most compelling figure on display is a particularly articulate coach who proves all too determined to have his protégé succeed. The fact that he works strictly on commission is certainly no small element of his zeal.

Likely to spur discussions about workplace safety, employee rights and broader awareness of sexual predation, Compliance is also a suspenseful psychological drama for viewers prepared to tolerate its extremes.

A beguiling romantic fantasy about the creative process and its potential to quite literally take on a life of its own, Ruby Sparks performs an imaginative high-wire act with finesse and charm.