Dank with the effluvia of a proudly unhygienic, sex-obsessed German teen, this frenetic adaptation of Charlotte Roche’s notorious 2008 best-seller is a standing dare to anyone who thinks the movies have gotten too tame.

Ed Harris is a performer made for Westerns, and he’s perfectly utilized in debuting director Michael Berry’s middling if still very watchable modern-day oater as Roy.

The whole phantasmagorical enterprise is so sweetly confident that it just about gets away with its entirely casual approach to believability.

Provocatively, the film suggests that winning small battles was victory enough; Saigon natives, also interviewed, were left behind to endure death camps.

This potent emotional undercurrent goes a long way toward counteracting the movie’s clumsier moments, carrying us aloft to a finale that, in its strange mix of trepidation and tenderness, is truly sublime.

A superior work of confrontational boldness, it might be the movie Oppenheimer wanted to make in the first place.

You don’t often see style this gorgeous (however empty), and that must count for something. Groovy soundtrack cues by Ennio Morricone and others do the heavy lifting.

This one belongs to the women: As a gold-digging mistress, Isla Fisher does half-smart expertly, while Jennifer Aniston demonstrates her underrated timing as a wealthy kidnapping victim turned confidante.

The survey the film provides is bracing, and there are plenty of talking heads to guide us through the kaleidoscope of imagery. Unfortunately, there’s also a public-television vibe to the proceedings that mutes the overall power. It’s essential info presented with little imagination.

[Eva] Green is the only one able to excite this silly material into the spiky shape it’s supposed to take. You wish the rest of the cast was as clued in.

Indeed, the doc works best as a relationship study, filled with endearing moments of intimate bickering. Takei is a self-admitted ham but a playful one, projecting his confidence in increasingly meaningful directions.

The film delivers on its most crucial idea by being an inventive relationship dramedy with actors who handle the dual challenge thrown at them with distinguished poise.

For a drama pretty much aimed at 12-year-old girls, it’s less superficial than you’d expect.

It’s another fascinating entry in the director’s ongoing exploration of the sadistic and masochistic facets of human behavior.

From "Police Academy" to "Hot Fuzz," there are satires to be made about undisciplined law enforcement; this will not join their ranks, try as it might.

There’s social satire for those who want it — don’t tell the rest of the neighborhood our daughter’s risen from the dead! — and a fine, simmering sense of apocalypse that turns this suburban community into a war zone. Still, it’s a lot of heavy lifting for what amounts to “he’s just not that into you,” mainly because you’re as ripe as a cadaver.

Such is Kim’s plotty momentum that the whole thing feels like an extreme joke made of pained silences, one that somehow strips bare the subtext of overbearing parents. Meryl Streep herself couldn’t improve on it.

In its early scenes, Dinosaur 13 works nearly as well as a certain Steven Spielberg thriller, creating the giddy, ominous mood of past and present colliding in excitement.

In comparison with near-impenetrable Garrel efforts like "Regular Lovers" (2005) and "Frontier of the Dawn" (2008), Jealousy cuts straight to the heart.

By using Laura as an avatar, Marker actually helps us see the visuals and their knotty meanings much more clearly. The more we watch, the more Laura softens, until — in a mind-bending conceit — her very status as a fictional creation is called into question. The effect is ecstatic.

You might actually say the documentary itself is Mohassess’s final canvas, so infused it becomes with his alternately infuriating and infectious personality.

For all its eye-opening material, The Dog still feels unfinished, but for students of New York scuzziness, it’s an essential addition.

Utterly inessential, this slightly cheap-looking reboot of the Turtles franchise is froth too — it might even be too tame for the kids who make up the target audience.

The movie’s never tastier than when screen vets Mirren and Puri are sparring, pettily buying out each other’s produce at the local market or bellyaching to the town’s mayor.

So much of Get on Up is uncannily perfect, from its nightmarish Georgia childhood flashbacks to delirious concert re-creations and the casting of Blues Brother Dan Aykroyd as Brown’s longtime manager.

It could have been so much worse; we wish it was a lot better.

Barreling toward its rapidly modernizing future, China takes Internet addiction more seriously than most nations: To watch Web Junkie, an often scary yet half-realized documentary, is to see a society trapped in its old solutions.