While there are humorous and poignant moments, this angst-filled story of tender kisses, awkward dances, friends drifting apart, kindly English teachers, unrequited crushes and drug-addled partying has a nagging sense of deja vu.

An artful blend of tenderness and sharp, clear-eyed observations. Its characters talk like real people -- who also happen to be smart, appealing and thoughtful.

While it's too hastily and neatly resolved, Hello I Must Be Going is a funny, well-written, involving and emotionally honest tale.

Despite an abrupt ending and the worst title of the year, Arbitrage manages to leverage real tension from its veteran stars in one of Hollywood's first pedigreed films of the fall.

Anderson has taken pains to re-create the '50s with superb production design and gorgeous cinematography. But he seems less concerned with whether the audience is along for the ride. The story can leave viewers at sea, floundering to give meaning to what they are watching.

Chicken With Plums is not a thoroughly delectable concoction, but its exotic flavor is worth sampling.

Ironically, the dialogue in The Words is its chief failing.

Talented actors are wasted in a film that induces more cringes than chuckles as women old enough to know better act like horny sailors on leave, absorb mass quantities of alcohol and drugs, and generally behave horribly.

Alas, if you're someone who enjoys movies as, say, a two-hour escape, you may find this documentary on the death of film at digital's hands a bit too inside baseball.

A dream for fans of offbeat, well-written, subtly acted projects.

Does its share of teasing, but amounts to nothing serious.

While the sound design and spooky minimalist music add suspense, and CGI effects are duly sinister, a climactic strobe effect is more annoying than frightening.

So stunningly photographed that the blood that spurts early and often in this grisly period piece is extra-vivid red. But that hardly makes the Prohibition-era story of a trio of bootlegging brothers feel authentic.

Despite far-fetched plot points - such as a flash mob of bike messengers ready to rumble and thwart evil - it's easy to get caught up in this life-or-death two-wheeled slalom.

The handsome production design notwithstanding, The Awakening is not an elegant thriller. It's more like solemn drivel.

This fun-loving genre-bender, inspired by "Smokey and the Bandit," opens languidly, then picks up the pace. Even in the midst of cars racing, it's funny and endearing.

Unlike most rom-coms, Celeste and Jesse Forever delves into the complicated heart of relationships, exposes some painful truths and allows melancholy to co-exist alongside breezy humor.

Shines brightest during its musical numbers.

The Expendables 2 is corny, barbaric and sometimes visually murky. But humor and self-deprecating macho charm make this male pattern badness crowd-pleasing fun.

This wryly funny take on the classic ghost story, with its tributes to horror thrillers from "Halloween" to "Friday the 13th" and rich cast of characters, has distinctive Tim Burton-esque visuals, and a welcome dearth of potty humor.

Robert Pattinson must be hellbent on escaping the world of sparkly-skinned undead to take on the starring role in the leaden, obtuse and ultra-pretentious Cosmopolis.

Drama/comedy fables such as "Big" and "13 Going on 30" effectively transported viewers to their whimsical alternate reality. But Timothy Green feels more predictable than other-worldly.

This latest Bourne doesn't send adrenaline surging the way "Ultimatum" did, but it's still a tense, well-acted thrill ride.

"It's a mess" is the campaign slogan of Marty Huggins, played by Galifianakis. He's referring to the state of government. But he might as well be describing the movie in which he co-stars.

It's about as uncomfortable as sitting through an interminable counseling session - involving two people you hardly know and don't much care about.

What snookered Slater (not to mention Donald Sutherland) into this film is a wonder, because there's not a genuine bone in it. Think the Bourne franchise meets the Bond franchise, without the wit or action.

The bone-crunchingly violent film has luridly entertaining moments. But by its resolution, this sleazy Southern Gothic nightmare has simply gone off the rails.

Maintains the franchise's knack for getting kids right.