As cartoonish as much of this is, Pickering's story is refreshing in its refusal to paint all Christians with the same brush,

Kindness is evident in even the most hurt or exasperated moments of de France's lovely performance as Samantha. But then, kindness couched in unblinking social realism is an intrinsic part of how these supremely gifted filmmakers view the world.

Worth a look, though it's unfortunately a far too academic affair that never surges with the suspense of many a WWII drama.

Adrien Brody, delivering his finest performance since "The Pianist," plays the central role of the disaffected Henry Barthes.

Neither the script's conspiracies nor Nicolas Cage's performance is weird enough to trump the film's generic feel.

This Spanish-lingo farce plays very much like an SNL sketch. The only problem is that it packs about as many laughs into its 85 minutes as a good skit does in eight or 10.

A bland romantic comedy in the Richard Curtis style, The Decoy Bride is mainly notable for its proof, if any was needed after "Boardwalk Empire," that Kelly Macdonald is a major talent.

Effects work is slick, and Goddard keeps his foot on the accelerator with help from David Julyan's suspense-building score. It's just too bad the movie is never much more than a hollow exercise in self-reflexive cleverness that's not nearly as ingenious as it seems to think.

The formulaic script by Steve Koren doesn't manage to exploit the absurd premise with any discernible wit or invention, and the star is left floundering.

A short and sweet outing pairing the Duplass brothers with mismatched screen siblings Jason Segel and Ed Helms, Jeff Who Lives at Home pulls back from the comedy of Cyrus in favor of character-defining vignettes and moments of grace.

Director Andrew Stanton's Disney extravaganza is a rather charming pastiche.

Not since Will Ferrell and Mark Wahlberg teamed up in "The Other Guys" has an onscreen pairing proved as comically rewarding as the inspired partnership of Jonah Hill and Channing Tatum.

The basic premise of this delightful comedy from Sweden is one of the most imaginative you'll ever see. It's all based on music -- raw, elemental and percussive -- out of which genuine laughs are wrung from beginning to end.

The movie has a hard time wrapping up its love story without feeling forced, however game the cast. Viewers won't be able to say they weren't given what they came for, but they might feel unsatisfied all the same.

It's torture to watch Jiro Dreams of Sushi - if you are on an empty stomach. David Gelb's documentary on Jiro Ono, the 85-year-old sushi chef whose Tokyo restaurant received three Michelin stars is a paean to perfectionism and crafty bit of food porn.

Imagine a Kiwi spaghetti western filtered through the offbeat sensibilities of early Sam Raimi or the Coen brothers and you've pretty much got the picture that is Good for Nothing.

Jewish and academically inclined audiences worldwide will respond to numerous aspects of this unusual drama, although it is paradoxically both too broad and too esoteric for the general art house public.

The co-screenwriter of "Kissing Jessica Stein" goes solo as writer and director with a romantic comedy that takes time to find its groove but steadily accumulates heart and humor.

A creaky haunted house that, once the big twist is revealed, makes very little sense at all.

Despite a couple of unconvincingly upbeat tacked-on moments at the end, Project X basically reads as nihilistic, as not believing in or standing for anything. Not even fun.

Armed with a splendid voice cast and a gorgeously-rendered 3D-CG landscape, Dr. Seuss' The Lorax entertains while delivering it's pro-environmental, anti-greed message wrapped in a bright package of primary colors that truly pop.

In The Salt of Life, the actor-writer-director again plays his own alter ego, and gives us another deceptively small, vaguely autobiographical story with universal resonance, in more technically assured packaging.

Robert De Niro and writer-director Paul Weitz find the most congenial material either of them has had in quite some time in Being Flynn.

Paula van der Oest's biopic of South African poet Ingrid Jonker is conventional yet captivating thanks in large part to a terrific lead performance from Carice van Houten.

Only the truly ghoulish will find any pleasure in Snowtown, Justin Kurzel's well-crafted but hard-to-watch true-crime debut.

Audiences attuned to Tim & Eric's weird wavelength will find plenty of guffaws in the first half, but a plot this thin can't sustain comedy based on discomfort; the film is so much of a good thing one starts to wonder if the thing is good in the first place.

A thriller so fixated on red herrings that viewers may stop caring if anyone's really in danger, Gone is diverting but unlikely to linger long in theaters.

This soapy effort about a prosperous businessman having a midlife crisis finds Perry working in the heavily melodramatic mode that marks his weakest efforts.