The Matchmaker is at heart an unexpectedly complex film about love, but also an examination of Israel in flux, a country with one foot in the past and another in the future – a weight that may never fully vacate Israeli shoulders.

There are pleasures to be found in "Chicken with Plums" to be certain, but we'd hope for something a little more satisfying next time out from the directing team.

It sounds pretty dull as a logline, but stacked with gossipy, informal anecdotes and opinions from many of the most respected directors, cinematographers, editors, execs, VFX artists and digital wizards in the industry, it proves instead to be highly entertaining and informative, and by its close has presented a thoroughly diverting overview of the debate.

Even amongst its most wrenching scenes of unfettered anger and broken loyalty, a volatile sensuality nonetheless invades every frame of Paul Thomas Anderson's arresting The Master.

While the premise certainly makes it stand out from the sea of dysfunctional family dramas, a cute idea alone doesn't quite cut it. In the end it's just not funny enough to be completely entertaining and the sentiment feels tacked on.

Has more than its share of flaws, but it also gets its balance of tones right, proving spooky, involving and occasionally resonant, while still managing to bring something new to a well-worn tale, and providing a terrific lead part for one of the most promising actresses of her generation.

An outlandish fantasy that surrenders to overheated melodrama, but nonetheless titillates the eyes like a grand feast.

Everything matters in Cronenberg's Cosmopolis, but not everything is necessarily the same as DeLillo's book. And that makes the film, as a series of discussions about inter-related money-minded contradictions, insanely rich and maddeningly complex. We can't wait to rewatch it.

Honoré's made better films, and he'll make better films again; the most damning thing you can say about this one isn't that it feels like Honore doing a third-rate imitation of Francois Ozon ("Potiche," "8 Women"), but rather that it often feels like Honoré doing a third-rate imitation of himself.

It's well-acted, certainly, though these performances belong in a film with sharper pacing, one that breathes easily. But, this directorial debut from Phil Dorling and Ron Nyswaner breathes like a frequent smoker: in fits and starts, peppered with coughs and dry heaves.

A marvelous experience for any devoted cinephile.

As a film that even passingly acknowledges the disposability of stars in a genre whose artistic merits are considered negligible (if they're considered at all), The Expendables 2 is indispensable entertainment.

Unfocused, and feeling mostly incomplete in even the most basic standards of documentary film, This Time unfortunately reflects an amateur approach that is felt not just in the filmmaking but in the very people trying to bring The Sweet Inspirations, Pat Hodges and Bobby Belfry to bigger recognition.

The Campaign is insidiously stupid, a laugh-free water balloon lazily tossed at the institution of politics, and one that makes "Semi-Pro" look like a lost Robert Altman film.

Viscerally, The Bourne Legacy packs a punch. If you're looking for a traditional sequel though, you'll probably be disappointed, but if it's a whole new ride you're after, you've come to the right place. Bourne has indeed been reborn.

ParaNorman is a micro-sized masterpiece that wears its heart (and its half-eaten brains) on its sleeve.

A pastiche of almost too many movies to count as a remake of just one, Total Recall is mindless, middling fare that fails to utilize – much less expand – the provocative concepts at the core of its iconic 1990 predecessor.

Anyone watching Assassin's Bullet will be gripped with a similar sensation -- to be anywhere but watching this movie.

Forever doesn't deviate terribly from the can-we-be-friends-after-sex playbook, but it rarely opts for hysterics or contrivance to push our leads along, so long as you can swallow the amicability with which they initially divorce.

If the film had not been afraid to go a little darker (like its sexually frank opening), dig a little deeper, and develop its characters beyond their stereotypes, it would have been a much stronger effort.

As a look behind the curtain at one of the contemporary art world's biggest names, 'Painting' succeeds as far providing a snapshot of who he is in the very immediate moment. For anyone looking for anything more about Richter, his craft or his insights, 'Painting' will prove to be a half-finished canvas.

Overall, it's not that Neil's directorial debut is boring or even disappointing, it's that it's just unexceptional – almost exactly the sort of dime-a-dozen growing-up story that's become a Sundance/ independent film world cliché.

Ultimately, Lee's clarity of vision hasn't been this sharp or unique since before "Crooklyn," and it's thrilling with Red Hook Summer to witness a return to the technique – and most of all, emotional wallop – that even today continues to give his films an enduring life as both entertainment, and enlightenment.

Overall, Chandrasekhar's first tentative venture towards something slightly more sincere is undermined by, quite frankly, his irresistible urge to take the piss out of every sequence that might have been played even remotely seriously.

Compliance is as much a meta-textual gauntlet as it is a movie; its subject matter not only deserves, but demands to be discussed and argued about, rather than being simply accepted at face value.

'Never Sorry' feels borderline unfinished, as it never draws that line between Ai Weiwei and the generation of successors to his throne that he has inspired. Perhaps it doesn't have to. Perhaps you're already one of them.

Certainly possesses a lot of energy, but it's never harnessed or focused effectively. As a buddy comedy, all four leads have done better, and you already know what those movies are, and this one doesn't stand among them.

Of course, it's because of the film's casually profane tone and commitment to pushing the boundaries of taste and acceptability that makes Klown a step above "The Hangover," a lack of fear towards the lawlessness with which those films only flirt.