Australia may finally have a homegrown blockbuster on its hands with the terrifically engaging Tomorrow, When the War Began, an action-packed war film for and about teenagers.

A water-treading sequel offering just enough kooky color to keep less-discerning funnybook fans occupied, Ghost Rider: Spirit of Vengeance nudges its obscure hero's mythology forward a bit without seeming to care much how it gets there.

The filmmaker made the film on his family's tobacco farm so perhaps his own memories may filter through those of his fictional characters. Or maybe they're not fictional at all. Jess + Moss is, to put it mildly, open to interpretation.

Tanovic wisely returns to his Bosnia and Herzegovina roots, where the small but highly nuanced story, set in prewar 1991, rings with authenticity and weight.

This amusing Danish doc aimed at TV audiences portrays Masha as an ambitious, intelligent, right-wing young lady who comes fatefully into contact with a bunch of left-wing journalists and loses her bearings. The overall effect is tragi-comic, even considering the dark events that bring the film to an unexpected dramatic climax.

It's impossible not to root for these guys, or to leave Undefeated without feeling enormously moved by the experience of their joys and disappointments.

The actor literally takes the metaphors of his bull-headed character to the limits and is never less than believable or mesmerizing.

Danfung Dennis presents a powerful depiction of the horrors and daily violence of our ongoing war in Afghanistan.

Does right by both fans and subjects.

Martyn Burke's documentary hauntingly dissects the rise of media mortality in the war zone and the mental disorders that follow.

A clever twist on superpowers and hand-held filmmaking that stumbles before the ending.

Presumably intended as an inspiring portrait of a private individual daring to live his dream of traveling in space, Man on a Mission instead comes across as a cautionary tale about having too much time and money on your hands.

This perfectly dreadful romantic action comedy manages to embarrass its three eminently attractive leading players in every scene, making this an automatic candidate for whatever raspberries or golden turkeys or other dubious awards may be given in future for the films of 2012.

Terse and understated, this is a spy vs. spy tale designed to minimize talk and maximize action, not at all a bad thing in movies but over-worked to near-exhaustion here.

Such heart-tuggers have their appeal to some people in any era, but earnest hokum of this nature has become increasingly rare. And for a reason.

A convincingly tender drama thanks to the presence of star Greta Gerwig.

Most disappointingly, the dancers never get their close-ups; whether by choice or by some enforced arrangement, Wiseman doesn't approach the gorgeous women to give them the chance to tell their side of what it's like to work at the Crazy Horse.

By this time, cinematographer Fred Kelemen's mostly stationary camera has revealed about all there is to see in a fine array of textures in such things as the wooden table, the rough floors, the walls of stone, the ropes on the horse and the skin on the boiled potatoes. That does not, however, make up for the almost complete lack of information about the two characters, and so it is easy to become indifferent to their fate, whatever it is.

It's a pleasure to surrender to the movie's lush visuals, which are accompanied by wonderful jazz classics performed by Valdes, Estrella Morente, and Freddy Cole (Nat King Cole's brother), among many others.

"No Country for Young Kids" would be just as suitable a title for The Woman in Black, a hoot of an old-fashioned British horror film.

It's the affable cast, headed by Drew Barrymore and John Krasinski, that really makes the picture so widely accessible.

As the band of adventurers skips from one supersized Survivor-like challenge to the next, one can't help feeling the creative potential of Verne's vision is wasted.

Perfect Sense is dense: It's a very complex and intelligent story hybrid that, must have looked great on paper and sounded impressive in discussion, but as a movie, it splatters all over the screen in unsatisfying genetic mutations.

The result is a largely entertaining picture with too few (and late-arriving) scares to satisfy the multiplex crowd, but one that will please many die-hard genre aficionados.

Director-screenwriter Ben Wheatley brings a fresh mystery and bite to the hitman genre, although a deeply weird twist and buckets of gore may throw more than a few audience members.

Rodrigo Garcia's film only intermittently surmounts the limitations of the central character's parched emotional existence and restricted horizons, and the resolutions to some principal dramatic lines seem rather too easy.

Starring a painfully awkward Katherine Heigl, One for the Money mostly resembles a failed television pilot.

The good news is that it will be a good 15 years before we're forced to encounter the character again in Spring. Maybe by then he'll be less of a downer.