Mozart's Sister feels like a rococo reverie. The film was shot inside Versailles, which borders on the best sensory overload when you factor in the gorgeous classical soundtrack.

After all, Like Crazy seems to say, haven't we all been there? Didn't it hurt? And wasn't it grand?

Speaking of the script, questionable motives and unbelievable decisions are relatively small potatoes compared with the Sputnik-size plotholes.

The humor is even more wildly inappropriate, with a running joke about getting a baby stoned on pot, coke and ecstasy, and a scene inspired by the famous incident in "A Christmas Story" where the kid gets his tongue stuck to a frozen flagpole.

An improbably satisfying action comedy.

It's powerful, gut-wrenching stuff, and it doesn't need tarting up.

All in all, In Time is not just stylish but surprisingly substantial. From now on, you'll think twice every time you hear the phrase "rollover minutes."

For a kids' movie, the humor, at times, strays a bit too far into grown-up territory.

The weakest link here is Heard, who possesses the icy cool of Kim Novak but whose character never quite comes into fuller focus than as a hyper-sexualized object of desire.

Elizabeth Olsen delivers an utterly transfixing turn as the title character of this chilling psychological thriller.

With Anonymous, director Roland Emmerich gives us "Shakespeare in Luck." Make that "Dumb Luck": In this alternately entertaining and wildly ham-handed speculative romp.

Mainly for those who are already infatuated with Cena's stoic, Mount Rushmore-esque countenance and who do not find the idea of the big lug leaping off the edge of a cliff onto an airborne helicopter's landing gear remotely absurd.

Paranormal Activity 3 just uses new technology to deliver the same old ghosts-and-goblins hokum.

Chandor's film goes a long way toward making understandable - in vivid, cinematic terms - what exactly happened to make that first big domino fall over.

When all is said and done, Mike proves to be not only peripheral to the main thrust of the movie, but a drag on its momentum.

It all amounts to a missed opportunity considering how many female athletes and sports fans would probably flock to the first film that targets their demographic since "A League of Their Own" nearly 20 years ago. The people behind The Mighty Macs could learn a lot from that film, especially that following formula is fine, as long as you don't skimp on the details that complete the portrait.

The band's success is never diminished. The fickle music industry can seem so arbitrary: A talented singer with connections might not make the cut, while a middling performer in the right place at the right time rockets to fame. Staff Benda Bilili's unlikely triumph is an epic feat, with or without anyone's help.

Majewski's film is a captivating exercise that will interest fans of art, not to mention arthouse cinema. But the movie's lasting impression is about more than novelty. It's a portrait of suffering and subjugation that urges viewers to stop what they're doing and take notice of the world around them.

I spent most of Johnny English wondering whom the filmmakers were targeting. While childish and silly, it's far too violent for young kids.

I'll say one thing for The Skin I Live In, Spanish filmmaker Pedro Almodovar's ambitious, crazy, even a-little-bit-infuriating new film: I did not see it coming.

Blackthorn feels less like a proper sequel to "Butch Cassidy and the Sundance Kid," which it purports to be, than a coattail rider.

Somehow, the comic chemistry never seems to ignite in The Big Year.

A must-see for any student of history, political rhetoric and film poetics at their most vagrant and revelatory.

It's uncompromisingly steamy, in a way that seems designed to make people who are uncomfortable with a physical relationship between two men even more uncomfortable.

Taut, unsettling, haunting and powerful.

Here's the thing about the new The Thing. It isn't as satisfying as the old "The Thing." And it's nowhere near as enthralling as the vintage "Thing," which inspired every other "Thing" to follow.

Footloose never needed to be dragged into the 21st century, but Brewer has made it look and sound a little bit more like the real world.

There really is no other movie on Earth quite like it. And that's including "The Human Centipede: First Sequence," the 2009 horror film on which this dismal, nauseating and yet bizarrely artful sequel is based.