A daring and unstable mélange of styles--working-class realism, deadpan fantasy, shameless buffoonery. At times it falls flat, or fails to rise. More often than not, though, it's a heartbreaker.

Intimacy has vanished from the relationship between Tony and Pepper, and grace has been stricken from the movie as a whole.

A slow and lugubrious film about the impact of adoption on the lives of three women.

This gorgeous film, always tender and sometimes dark, is a deeply resonant comic drama that's concerned with nothing less than life, death, love, sex, guilt and the urban logic of mortality.

In addition to all else, and it's a lot, The Losers wastes the riches of Hollywood technology in hot pursuit of nothing.

Quirky. Wacky. Offbeat. Outré. The words that come to mind regarding Paper Man might prompt you run in the opposite direction. And perhaps you should, except for the performances of Jeff Daniels and Emma Stone.

Grungily stylish and often funny, at least for a while, though all of the caveats and contradictions that apply to Tarantino films apply here: One man's--or boy's--stylization is another's profane, unrelenting and tedious brutality.

This faux-documentary is droll, aerosol-thin and ultrameta.

An exhilarating examination of a leading Iranian criminal enterprise--music: More than 2,000 bands are said to operate clandestinely in the capital of Tehran, risking prison to play together in basements, bedrooms and rooftops.

A drama that transcends cleverness. This beautiful film, directed with subtlety and grace by Juan José Campanella, really is about moving from fear to love.

Watching these two intensely likable comedians work together is a special pleasure.

The dialogue is clumsy, the tone swings between somber and silly and the whole bizarre venture eventually succumbs to rigor mortis.

What's wrong with this sad fiasco goes far beyond its visual deficits.

Takes a sharp turn for the better when Ronnie and a poor big rich boy played by Liam Hemsworth fall in love.

How bad must a movie be to be good fun? How dumb to be smart? (Or, in the case of "Dumb and Dumber," how pretend-dumb to be surpassingly smart?) Whatever the case, Hot Tub Time Machine doesn't make the cut.

A leisurely and quite lovely drama that honors the conventions of gothic ghost stories without the slightest stain of self-irony.

Basically a soulless slasher flick, and one that demeans its gifted performers.

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.

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.

Computer travel may not be the real thing, but IMAX makes this an astonishing trip all the same.

An absolutely phenomenal film by the Korean director Bong Joon-ho.

For a while Green Zone generates genuine excitement, as well as plenty of provocation--a fatuous surrogate for Ahmed Chalabi, a pervasive scorn for American planning--but then goes off its own reservation into a won't-fly zone of awkward preachments and hapless absurdities.

The most surprising thing about Alice in Wonderland is its general lack of surprise.

Whatever one may think of the overall style--I think it's ludicrous--Mr. Fuqua clearly wanted his film to be operatic, and so it is, in a tone-deaf way.

This wonderfully strange and exquisite little feature was created, especially for young children, to celebrate the book through another kind of illumination that's been falling into disuse--hand-drawn animation.

The big difference between Mr. Romero's film and Mr. Eisner's--which is so intelligent you fear the fanboys will scatter--is that Mr. Eisner never gives us the military's point of view. All we know is what David and Judy and Russell know, which for a long time isn't much. And The Crazies is all the scarier for it.

Uncompromising in its style, story and characterizations.

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