Culkin's Alig has the face of a debauched cherub, but the former child star never quite captures the charisma everyone swears was an essential component in Alig's success. Green's St. James steals the picture out from under him (poetic justice of a sort), and the supporting cast is nothing short of amazing.

Be sure to stay for the coda, a damning piece of newsreel that casts much of what went before in a whole new light.

Often confusing, especially during the first half, but Gabin and Ventura are well cast as hoods.

Spare, rough around the edges and unsentimentally melancholy.

Exciting, suspenseful drama.

The film delivers a few slick thrills before beaching itself on an ending that would be chilling if its depiction of unimaginable horror's lingering legacy weren't so muddled.

There's way too much of the usual bonding, beatings, petty humiliation by guards, cat fights in the yard and trips to the hole.

The complications are predictable, as is the resolution; what keeps the film from sinking into its own inconsequentiality is the throaty-voiced Henderson, who can make the most preposterous behavior ring absolutely true.

Chances are you'll watch most of this documentary with both hands over your eyes, but as a window into a particular kind of insanity seizing kids in heartland America it's enthralling.

Lame and inane, but a huge hit in Spain.

This warm, ultimately poignant film hoes its own row, and proves once again the diversity and vitality of contemporary Argentine film.

Only a spirited and extravagant production could do justice to the Robin Hood legend; this film is more than equal to the task. Korngold's score won a well-deserved Oscar, as did the editing and art direction.

Warm and thoughtful tale.

Looks very much like a documentary: It's grainy and raw, and Seidl's actors -- a mix of actors and non-professionals -- are often unglamorously posed under what appears to be natural light.

It's hard to care even just a little when you have no idea what's at stake or why, be it Heaven or Hell.

The chaotic, brutal iconography of Italian Westerns is put to novel use in this time-traveling, self-referential, hugely ambitious story of American brothers.

Khoury may be a few years too old to play a minor still squirming under her father's thumb, but her performance as a timid young woman who finds strength while looking for a husband is quite affecting.

This provocative, at times languid, documentary from German experimental filmmaker Gabriel Baur is something of travelogue through this unexplored frontier, a mixed-up, shook-up borderland where nothing, especially not an individual's gender, should be ever be taken for granted.

LaBeouf somehow manages to turn Kelly's self-centered behavior and irritating character quirks into a sympathetic lead, and the well-written script by newcomer Erica Beeney brings a lot of humor to some very touching moments.

It's an old story, but at a time when high-school-aged athletes are wooed away from real-life with staggering, multi-million dollar endorsement deals, it's one that bears repeating.

Leave something on the shelf long enough and it'll either ripen like cheese or rot like garbage. Guess what: This ain't Camembert.

Once the action degenerates, the film relies on Chan's charming smile and Evans's mediocre slapstick for relief, making one wish the medallion's special powers could transport them into whole other story.

Outrageous and often disgusting film.

Perhaps the only person more enthralled by the romance of train hopping than the latter-day hobos profiled in this great looking documentary from first-time director Sarah George is George herself.

The film is not without its share of awkward moments, but as an insightful critique of "Girl Culture" and the mounting war over the hearts and minds of adolescent girls that's currently being waged in the media, it's mandatory viewing.

Formulaic hodge-podge that trades on a certain demographic's affection for the bogeymen of their formative years.

Unfortunately, the emotionally resonant moments between Murphy and Fanning are few and far between; the rest of the film relies on goofy physical comedy -- Murphy takes more pratfalls that any young woman should have to.

Pekar's autobiographical chronicle of day-to-day banality is a rich, if dingy, tapestry of ordinary life in all its infinite, homely peculiarity, which filmmakers Sheri Springer Berman and Robert Pulcini bring to uniquely eccentric life.