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.

The emotional detonations prove minor but movingly resonant in The Exploding Girl, an indie character study built four-square round Zoe Kazan's persuasive performance.

What threatened to be yet another routine exercise in raunchiness instead turns out to be a sweet, charming, hilariously funny love story that could emerge as a sleeper hit.

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.