A densely plotted, visually dynamic post-apocalyptic thriller.

What you get for your entertainment dollar in Lady Vengeance is Korean director Chan-wook Park's brilliantly orchestrated story of how Lee Geum-ja (Lee Young-ae ) got her groove back.

Even if its most ironic humor will sail over the heads of very little ones, Enchanted is that rare comedy that will appeal to the whole family.

Strikes several beautiful and lingering chords about the human condition, but the notes of the music ultimately never come together to form a coherent song.

It's an intriguing experience.

Kitano the filmmaker makes sure that everything is beautiful, from the wonderful colors and passing tableaux to the intricate fighting choreography. This blind swordsman, you realize, has vision to spare.

One wishes the same wit and energy had gone into the story. That's Shrek 2 in a nutshell -- very pretty to look at, very hard to care for.

Obstreperous, male-bashing pain in the patoot.

A lightweight but enjoyable yarn.

There’s something refreshingly realistic about the director’s approach. The movie has an unhurried pace, letting the camera linger over long conversations.

To his credit, Kore-eda avoids oversentimentality in a narrative that could easily have indulged in it. Yet the unhurried pacing and minimal dramatic tension — even when an important character makes an appearance midway through the story — feels unsatisfying.

"Farewell to Europe” is a little like Zweig himself: smart, overly fastidious and remote to a fault. By avoiding Zweig’s inner life, his eventual collapse seems all the more perfunctory.

Written and directed by Richard Brooks, the picture is more style than content, but what style.

Beneath the sylvan trappings is a whodunit as riveting as any.

As cinema, Spy is content to cater to its own conventions, hit the required marks and earn a few laughs along the way. As a cultural bellwether, it does something bigger and more important, without ever italicizing that fact.

Fresh and rainbowy as a midday Hawaiian sun shower.

Nader haters may not be mollified, but An Unreasonable Man, like its subject itself, is a one-stop civics lesson no one should miss.

It’s a richly engrossing drama, so long as you understand that it’s aiming for the head, not the gut.

But don't let a little gore, misogyny, factbusting, counterfeit hipness and screenwriter David ("Streamers") Rabe's public disassociation from the project get in your way. Enjoy Penn's actor imitations. Or Fox's raspy earnestness. Or scorer Ennio Morricone's sentimental mortars. Or a bafflingly anticlimactic final sequence in which veteran Fox appears to come to terms with himself with the help of an Asian woman and a dropped scarf. Is that what you call a wrap?

If the movie is any indication, Chevron would have the public believe there was no Amazon at all -- something people might be willing to believe, were Berlinger not sticking Crude in their faces.

The movie is a tremendous accomplishment, especially considering that the cast had never seen cameras before — much less movies — yet still agreed to star in the drama. Their performances are as stunning as the setting, and that’s truly saying something.

It isn’t easy to explain the appeal of the “John Wick” movies, and they are inarguably not for every taste, but there is a purity to them that transcends their barbarity and has something to do with the central character.

McAdams again proves she has real comedic chops that this island, and Raimi’s direction, have only sharpened.

For its frequently painful contours, there’s an abundance of pleasures to be had in Belfast, Kenneth Branagh’s irresistible memoir about growing up amid the Troubles in Northern Ireland.

A timely reminder of AIDS; we've largely forgotten we're in the midst of a crisis. But the movie isn't all cautionary, or at all preachy.

A briskly paced computer-animated entertainment that uses the format to maximum effect, the way "Avatar" does.

This is a great liberal movie, which is to say, it will be loved most passionately by great liberals, and despised by the conservatives it contemptuously fails to notice.

This is a lean, cruel film about the ethics of photographing violence, a predicament any one of us could be in if we have a smartphone in our hand during a crisis.