The film isn’t just about their search for love and the vagaries of modern dating, but the craziness of life as it’s lived by passionate, gifted people with insufficient channels for their passion and shabby containers for their gifts.

Shrewdly reconceived, powerfully acted and hugely entertaining.

As the title suggests, this isn’t a film focused simply on the ruins of a relationship so much as one with an eye on what’s worth keeping.

The wonder of the film is how good it makes us feel. Greenberg scintillates with intelligence, razor's-edge humor and austere empathy for its struggling lovers.

A stylish thriller with real complexity, people with interesting faces, a sensational actress cast as an ambisexual Goth hacker heroine--the news about The Girl With the Dragon Tattoo is nothing but good.

Mr. Henry’s performance, by turns firm and funny, is the highlight of the movie.

That's not to say that this first visit to a live-action Narnia on screen isn't enjoyable, or promising for the future of what will surely be a successful franchise. But there's not a lot of humor along the way, and the epic struggle between good and evil plays out in battles more impressive than thrilling.

Austere and magnificent film.

One of the great strengths of Farewell Amor is its intimacy, the sense it conveys of three people close together yet emotionally distant in Walter’s small, narrow Brooklyn apartment.

Director Rory Kennedy strives to make Ms. Polgár’s story—that of the greatest female player in the game—a validation of women in chess, without paying much attention to their continued under-representation, post-Polgár, in international competition. What she does come close to validating, however hesitantly, are the unorthodox educational theories of Judit’s father, László.

Mr. Bessa’s performance is a pained and bitter thing, his character committed to some form of justice even if the attempt to get it keeps him submerged in a traumatic past.

Ms. Gerwig’s performance is a comic diamond, and not in the rough. Her timing is flawless, her delivery is droll. The character she has created — from a remarkably smart and supple script, plus her own unerring instincts — may have spiritual connections with Cate Blanchett’s delusional Jasmine or Diane Keaton’s blissed-out Annie Hall (Brooke solemnly and absurdly consults a spirit medium).

Cinema Sabaya, a quietly affecting little film about unexpected connections and unseen sorrows, shimmers with a bright optimism about how people might overlook one another’s differences if only they took a little time to learn about each other.

Mr. Birney’s exotically low-fi imagination makes for a freaky and feverish trip.

I've made a good case for seeing Rango, and why not; an eye feast is still a feast in this lean multiplex season. Be advised, though, of the film's peculiar deficits. The narrative isn't really dramatic, despite several send-up face-offs. It's more like a succession of picturesque notions that might have flowed from DreamWorks or Pixar while their story departments were out to lunch.

Border may not be everyone’s idea of a fun night out, but it takes you to places you won’t forget, and that’s nothing to sniff at.

Caper movies rely heavily on how well they build plausibility into the doings of professional scam artists, but Emily the Criminal scores poorly on that front.

Frank is a genuine original in a summer sea of sameness, and a darkly comedic manifesto against the cultural status quo.

JW is played brilliantly by Joel Kinnaman, who is familiar to American audiences of "The Killing" on AMC.

What The Art of the Steal documents most dramatically is the irresistible pull of irreplaceable art.

A singularly strange and affecting comedy.

In these days when flat-out comedy features are scarce, it’s one of the most welcome tenants at the summer multiplex. A mid-movie snowman gag puts the new one over the top, bestowing on it the honor of being mentionable alongside its predecessors. It sets the lunacy level to “inspired.”

The bad news about the Ennio Morricone documentary Ennio is its length: 2 1/2 hours. Far too short!

Goes from good to great in 90 minutes, and then it's over, except that it's really not, because this small masterwork grows even deeper and more affecting as it takes up permanent residence in your memory.

Every moment strengthens the essence of the drama—the bond of love between two people who came out of their mother’s womb within seconds of one another.

It’s also a film made by her grieving husband. On paper, it shouldn’t work at all. It works measurably better on screen.

Andrew Garfield's phenomenal performance makes room for the many and various pieces of Jack's personality, whether or not they're securely fastened together.

Unfortunately, the script by Zach Baylin doesn’t do an adequate job of making either side of these cat-and-mouse games thrilling.