Dorff and Fanning are perfect in their roles, and Coppola captures the draining narcissism of celebrity culture with the understanding of someone who"s witnessed it all her life.

What saves Country Strong from drowning in its own tears are the leads, all four of whom imbue Feste's unabashedly clichéd script with some genuine humanity.

Though Bowser uses old footage when possible, the absence of his subject -- who died tragically in 1976 -- is keenly felt.

Hans Petter Moland's dry Scandinavian wit is just amusing enough to keep us interested in this dramedy.

Boote's ambitious goals include finding out how plastics are made and how they're messing with our bodies and our planet.

There are too many overwritten moments designed solely to make the movie more interesting -- when, in fact, they undercut the low-key relatability that serves as its strongest asset.

Levine offers a mostly sharp takedown of middle-class hipsterdom, and he's terrific as a guy whose easygoing demeanor hides continuing growing pains.

Korean director Im Sang-soo can't improve on Kim Ki-young's 1960 original, a jarring and operatic cult favorite. Still, he does tweak the themes in intriguing fashion.

The one person who does appreciate Emilia is Portman - which is what saves The Other Woman from the easy judgment toward which it so often appears to be edging.

Don't let the generic title fool you: David John Swajeski's documentary tells a story you're unlikely to forget.

So maybe this movie should serve as his introduction to a larger series, in which each artist gets the individual portrait Neville so clearly wants them all to have.

Bieber's world - at least as edited for mass consumption - is a refreshingly wholesome universe, where a young superstar is good-natured and grateful, says grace before every meal, and spends all his free time on the tour bus tweeting. He also likes to hug, a lot.

Its appeal comes almost entirely from the cast members, who appear genuinely excited to invite us to their party.

It's a slow time at the cineplex, and the sinister scares served up by Brad Anderson are just spooky enough to freak out undemanding horror fans.

Much is left undeveloped, from Jane's ghostly anxieties to Rochester's evolving complexity. Wasikowska and Fassbender lack chemistry, and the latter never finds his character's depth.

Crowley's biting portrait feels painfully dated, but in a way that's the point: Pioneers fight so those who follow can take their battles for granted.

DuVernay's feature debut is simple and almost proudly plain. But such a stripped-down approach allows its authenticity to shine.

The movie looks great, never lags, and keeps us intrigued throughout. It's not until the high wears off that we realize we've just been had.

A decent comedy, good-natured if unspecial, amusing if rarely hilarious.

It's hard not to wonder if Press might have offered a similarly impactful portrait in a more concise manner.

The entire cast is solid, but most notable are Greer and Silverman, who make the most of unexpectedly serious roles.

There's an unexpected appeal to John Gray's modest drama, emanating from its center.

It's a tribute to Adrien Brody that Wrecked works as a modestly compelling thriller, since there's almost nothing to see but Brody himself.

Though John Stockwell's action comedy is shamelessly derivative, his enthusiastic cast propels it much further than it should go.

It's Franco's straight-faced turn that grounds this proudly lowbrow caper from his "Pineapple Express" collaborators, David Gordon Green and Danny McBride.

In this visually and emotionally severe landscape, Reichardt has created the sort of film that will inspire grad students to write passionate thesis papers - and casual moviegoers to feel as lost as her would-be settlers.

Narrator Morgan Freeman manages to be both soothing and somber, so it's not until the credits roll that we realize how much more we want to know.

Danhier backs all the memories with a collection of great clips, and it's extra fun to spot familiar faces (hi, Steve Buscemi!).

Like his 2007 political drama, "Lions for Lambs," Robert Redford's fictionalized chronicle of Mary Surratt's 1865 trial is high-minded and slow-moving. Some may chafe at his unsubtle sermonizing, but strong central performances will reward the patient.

The primary drawback is the lack of chemistry between the leads, Reese Witherspoon and "Twilight's" Robert Pattinson.

The story has heat, even if the movie is more entranced with its subjects than in what they're trying to achieve.

Director Salim Akil has found actors skillful enough to enhance Elizabeth Hunter and Arlene Gibbs' conventional screenplay.

Knightley and Canet make a far more compelling pair. As they wander through the city after hours, doing nothing more than talking, they generate the kind of romantic heat that's all too rare onscreen.

If this sounds like a typical date movie, worry not. It's very much an Apatow production-though the crasser additions, like his already-notorious food poisoning scene, feel painfully forced.

The parts are ultimately greater than the whole, but Adam Reid's offbeat debut suggests a talent worth watching.

It's big, bright, savvy, and so expansive you'll undoubtedly leave feeling you got your money's worth.

So what we're left with is a sort of contact high, drifting gently over to our seats in the back row.

The most interesting threads aren't political but personal, with a melodramatic romance providing some well-earned tears. Your final thoughts, however, are likely to concern Jennifer Tilly, who's so bizarrely miscast as a severe missionary that her presence becomes its own distraction.

Its straightforward approach is notably lacking the divine inspiration of its subject. But Don McGlynn's gospel documentary delivers so many moments of artistic ecstasy, we can forgive the plain wrapping.

The plotlines are clichéd and the score overbearing, but uniformly strong turns go a long way towards shaping the lush, nostalgic atmosphere. Don't forget to bring tissues.

The biggest flaw is the casting: only Shannyn Sossamon delivers a performance of even modest depth.

The flaws are more than balanced out by the risks the earnest Kelly encourages his excellent cast to take.

Even if we can't live his cowboy life, Buck Brannaman's world is well worth visiting.

There is something infectious about the old-fashioned innocence of Mark Waters' comedy.

Despite their efforts to address most sides of this complex story, each new interview leaves us wanting to know even more. Of course, that's the sign of a compelling film - but in this case, not an altogether satisfying one.

Feels more earnest than real. Still, its sincerity is admirable, and often touching.

A far cry from 2010's shallow rom-com of the same name, this Leap Year is a haunting portrait of loneliness in its starkest state.

If you are a 12-year-old girl, you are the perfect audience for Monte Carlo.

Some of the shocks are way too broad, and the enclosed perspective suggests the material would better suit a play. But Crawford radiates charisma, and Pierce sells even the nuttiest moments.

All those who have to drag themselves to work every morning will surely find some comfort in Seth Gordon's cheerfully outrageous revenge comedy, Horrible Bosses.

Breillat, seemingly inspired as much by C.S. Lewis and Hans Christian Andersen as by original author Charles Perrault, doesn't really make the most of her subversive premise.

It's all compelling, in the way reading trashy gossip usually is. But without any new perspectives, what's the point?

It's cute and funny and sweet, which - as any woman can attest - puts it way ahead of most Friday night options.

It's hard to ignore the fact that very little in the movie feels true - no one clicks as a couple, and there are carefully contrived coincidences around every corner.

McDonagh indulges in too many '90s affectations, from blaring chapter titles to philosophizing gangsters. But he captures his misty setting's insular atmosphere beautifully.

The title's accurate; there are lots of minor but magical moments, like witnessing the accidental invention of tie-dye.

Though it remains a little too enigmatic, Marek Najbrt's Holocaust drama is atmospheric enough to keep us edgy on its heroine's behalf.

A darkly comic underachiever that manages to charm almost in spite of itself, Ruben Fleischer's 30 Minutes or Less is probably best watched as it was made: without much evident effort. In other words, wait until it hits DVD, order a pizza and Netflix it.

Quale has brought this anemic franchise back to life, with an unexpected infusion of humor and energy.

You'll need a taste for nostalgia to really appreciate Fright Night, which knowingly blends Eighties cheese with Nineties snark - a combination that works better than it sounds.

Marie Féret struggles to hold the film's center throughout, but there's more than enough to distract us, from transcendent music to sumptuous costumes and sets.

There have been so many movies about aspiring superheroes in recent years, they practically constitute their own genre. Though hardly ground-breaking, this whimsical Australian entry is just endearing enough to stand out from the pack.

If you flinch at "boo," you'll find plenty to jump at here. Just don't expect striking originality, or even genuinely memorable eeriness. Still, every time "Dark" starts to feel like a generic thriller, it's saved by the distinctive stamp of co-screenwriter/producer Guillermo del Toro.

Zoe Saldana makes being an action hero look so easy in Colombiana, you have to wonder why more actresses don't try it.

Despite some early whispers of awards potential, The Debt is nothing more than a gritty thriller with a highbrow pedigree.

What the movie lacks in depth it makes up for in surreal humor, and - just as he should - Gainsbourg look-alike Elmosnino seduces us effortlessly.

To maximize your entertainment budget, look no further.

From the wry narration to the girlish mannerisms, Parker really does turn this film into "Sex and the Kiddies."

If you could also use some time off, try his gentle new comedy.

Most of the family films churned out today are so junky it's almost a shock to find one in which the animals never spout sassy one-liners, or show off their hilarious hip-hop moves.

He's (Clooney) got the makings of a great movie here: one that represents our politically surreal times with keen insight and appropriate cynicism. It's only when he veers off the path, suddenly worried he'll lose our attention, that he falters.

Oddly, Craig Brewer has softened the tone for his remake. But nearly everything else remains intact, and -- surprisingly -- that's just enough to win us over.

For any adult feeling overwhelmed by bad news and dark times, your antidote is right here.

No one looks at the world quite like Kaurismäki, and his deadpan sentimentality is worth discovery. This is a good place to start.

The trailer for Like Crazy is one of the best of the year, and I couldn't wait to see the movie that inspired it. Turns out, the film itself plays like one long trailer, a collection of moments and montages that hint at, but never quite achieve, a fully realized whole.

Boasts an unusually strong cast of actors, who boost the slick screenplay into a satisfying popcorn picture.

A popcorn movie has one goal, and that's to entertain. Immortals meets this criteria handily, and serves as a splendid spectacle besides.

The movie's intensity is given crucial depth via Moura's somber and unshowy performance.

The story is never less than gripping, but the most important questions disappear into that unbearably bleak abyss.

To outsiders, in fact, Breaking Dawn: Part I will probably look like the weirdest, most expensive chastity commercial ever created. But Meyer's massive fan base will see something else entirely. They'll see a faithful, well-made depiction of the most eventful book in a beloved series. They'll see the actors they adore embodying characters they cherish.

A Dangerous Method concerns itself primarily with sex, but what's most shocking is how conservative it turns out to be.

Though the Tickells' unabashedly partial, first-person approach is a liability, they present so much damning evidence that their case is - one hopes - impossible to ignore.

The primary response he's (Kitano) seeking seems best expressed by one typically ill-fated player: "What the hell … ?"

The script, co-written by Bouchareb, is regrettably simplistic. But Blethyn and Kouyaté inhabit and expand the film's earnestly instructive intentions, leaving us with a deeply-felt experience rather than a naively-sketched lesson.

The only thing that's missing, in fact, is a soul. On the other hand, there's a good chance you'll get so caught up in what they're doing, you won't even notice how stiff and inhuman the actors appear.

While their story is feather-light, Khoury and his actors have each type down perfectly. Worth seeing with friends, but you won't want to make a date night out of it.

The film is spectacularly constructed, from intimate closeups to dizzying chase scenes. But as is often the case with this format, the motion-capture animation feels weirdly lifeless.

While the Tony-winning play based on the same book creates unexpected impact through strikingly inventive puppetry, Spielberg is at a disadvantage in employing such a literal approach. Not even animals as beautiful as these can substitute for human ingenuity and imagination.

The film is best suited for dance buffs excited by an unexpected congregation of artistic pioneers.

Fans of the book may resist the efforts of director Tran Anh Hung ("The Scent of Green Papaya"), simply because it would be impossible to capture the essence of Murakami's prose. But this exquisitely filmed, often haunting tragedy is worth taking on its own terms.

Writer/director Patric Chiha brings a knowledgeable weariness to his feature debut, as his story heads toward an end that feels familiar in all the right ways.

While Sigman conveys a credible state of tense disbelief throughout, it's increasingly frustrating to watch Laura so passively accept her dire fate.

Though "Woman" never rises above its status as a traditional genre thriller, that's perfectly fine. It was made with intelligence and commitment, and it achieves its goal: to keep us looking over our shoulders long after we've left.

Such a unique personality really deserves a more interesting tribute, but it's so nice to see this one-of-a-kind nonagenarian still going strong.

It's undeniably interesting to watch each element come into place, from choreography to costumes. But the truth is, most viewers will best appreciate the retro-sexy dance numbers themselves.

The real romance here is between the filmmakers and the cultural moment they hope to document. From that perspective, it's a welcome - if not quite award-worthy - valentine.

Schoenaerts capably handles a difficult role that's equal parts pathetic, repulsive and heartbreaking. But you'll need a strong will to spend your time with such a tragically hopeless character.

The persistent whimsy gets a bit wearisome, but it's hard to dismiss any film so determined to make us happy.

While softening Geisel's darker themes, they still meld a valuable message into catchy songs, bright images (nicely done in 3D) and funny characters.

A good-natured and highly enjoyable goof.

Waititi retains his quirky style, but it feels meaningful here, a valid effort to explore the difficulties in coming of age during tough times.

While "FWK" never challenges us, it does remain consistently engaging.

Weisz's meticulously crafted turn is certainly touching, but it lacks the immediacy of, say, Celia Johnson's in 1945's "Brief Encounter."

Aside from Scott, only Liev Schreiber - as an aging competitor - manages to steady the frenetic swirl. Whenever the two of them are together, Goon stops skating around in circles, and matures into the funny, surprisingly touching movie it wants to be.

Incredibly enough, it seems many people still believe that bullying is just a matter of "kids being kids." Until that attitude changes, this film should be considered required viewing for every parent, teacher and teenager in America.

Director Kat Coiro - who co-wrote with Ritter - spices up the formula just enough to keep us watching, while Bosworth adds versatile edge to the BFF banter.

It's as if the TV character Dawson directed "Heathers," or another one, Parker Lewis, remade "Scream." Who'd have guessed that would be a can't-lose idea?

The cumulative power of so many great minds envisioning our potential self-destruction is undeniable. You may start planning your move off the grid before the movie even ends.

If you can look past the annoying quirks, you'll probably have a good time. As Steve says, sometimes, it pays to compromise.

Some of this wallowing goes on too long, risking our alienation from characters who are difficult to like. What saves the film is the fact that they are always easy to recognize, both as self-centered teenagers and tentatively maturing young adults.

Grubin is an experienced documentarian, and he plays to his strengths here. He certainly makes the most of the Manhattan setting, whether his characters are practicing at Juilliard or playing for cash in the Times Square subway station.

The claymation visuals are charming, and an enthusiastic, if somewhat underused, cast works hard to sell the better jokes (though the funniest gag is a silent monkey butler).

As that description suggests, the film winds up a rather grim, often indulgent muddle. But it's also undeniably compelling.

Woven amid the glib one-liners and contrived scenarios is an unexpected, and undeniably touching, sense of heart.

If you're the type who unwinds by watching "The Wire" or "Law & Order: SVU," you might appreciate this grim procedural drama from French actress Maïwenn. There's no denying its power: It took home the Jury Prize at Cannes last year. But for most, Polisse will be tough going.

While a delicate topic would seem to require a delicate touch, Wexler goes more for cheeky entertainment. To some degree, it works.

A solidly entertaining summer movie is always welcome, even if it can't quite claim to be out of this world.

This sympathetic documentary chronicles her decision to come out, which required a battle plan as extensive as the ones applied to the rest of her career.

It's Theron who owns this film, imbuing her deliciously depraved Queen with furious pain and deep-seated fear.

Rock of Ages is an experience that will alternately leave you embarrassed and amused.

True chemistry is hard to find. And by some stroke of movie magic - or sheer skill - Wahlberg and the bear make a pretty great team.

Perry may be the world's most high-profile tease, but she sure knows how to show us a good time.

Hartley fans will certainly see his influence, especially in dialogue and movement that are so precise as to feel choreographed.

For her part, Lotz carries the load with such briskly efficient confidence, it's no surprise to learn that she's already got several more movies on the way.

Despite its problems, there's a touching sweetness at the heart of Nancy Savoca's intimate family drama about estranged sisters trying to reconnect.

Whether accurate or not, it's certainly entertaining to watch regal intrigues through the eyes of lady-in-waiting Sidonie (Léa Seydoux). That Jacquot handles the action so lightly is a credit, considering that it takes place during some of the tensest moments of the French Revolution.

It often feels as if the filmmakers expect us to be equally seduced by Ruby's wide-eyed winsomeness. That's a shame, as we can sense the deeper film beneath the surface. Because Ruby remains conceptual, this ambitious project lacks the dimension of the similarly meta-minded Charlie Kaufman projects that apparently inspired it.

Alison Klayman's chronicle of Chinese artist and activist Ai Weiwei is so straightforward that one can't help wishing the subject would make his own, more complex cinematic self-portrait. But for now, Klayman has provided a valuable introduction to a man everyone should know.

This lovely, low-key debut from Aurora Guerrero doesn't aim to make any grand statements. It doesn't need to. The sweetness and sincerity Guerrero and her leads infuse into their intimate coming-of-age story is more than enough.

What we really want is to get to know them. Instead, the film too-aptly reflects life in their line of work: brief interludes rather than intimate soul-baring. That's a shame, since there can't be that many 70-year-old identical twin prostitutes with a 50-year history in the business.

The introduction isn't as smooth as it could be, but eventually everyone settles into the right groove.

A strong cast, empathetic direction and memorable soundtrack help create a movie that does everyone proud.

Oddly, there isn't as much originality as you'd expect from a global search for meaning.

Birbiglia is a great storyteller, but not a natural actor. Matt should really be played by someone with more skill - and by someone in his 20s, rather than a 33-year-old who pretends to be in his 20s by acting as clueless as possible.

The most adorably filthy movie you may ever see.

His outlandish story feels only half-told - though still twice as fascinating as most.

There are no supermodels or Cinderellas in this sadly compelling story, just predators and the impoverished dreamers who want to trust them.

Lerman is suited to the title role in that he plays Charlie as wide-eyed and rather unmemorable. Watson doesn't seem entirely relaxed as an American teen, though she does serve as a lovely first crush. Among the adults making brief but notable appearances is Paul Rudd, as a sympathetic English teacher.

While plenty of talking heads turn up to offer breathless praise, it's no surprise that the preeminent words of wisdom are, thanks to copious archival footage, Vreeland's own.

How you respond to Pitch Perfect will depend primarily on how you feel about its obvious inspirations: "Glee," "Bring It On" and the food-poisoning scene from "Bridesmaids."

Anthologies are risky. For every high point, there's often a misstep to match. But this indie compilation has enough inventive chills to interest any horror fan.

This impassioned documentary is well-intentioned and admirable in its aims, but overreaching and therefore lacking impact.

As is, the film is more likely to impress the choir than change many minds.

At heart, Middle of Nowhere offers material we've seen many times before. But between her perceptive direction and Corinealdi's layered performance, this modest, micro-budgeted story has been beautifully packaged.

The baby angle is really just a hook on which to hang wry commentary about single life in the city, but Lisecki approaches his subject with obvious affection, and the game cast makes most of the sitcom-silly antics work.

Michael Jackson fans will love Spike Lee's look back at the making of a classic, even if the extensive collection of clips and contemporary interviews - which could have used a firm edit - feels more suited to DVD.

A great many New Yorkers are rightfully indebted to doormen, but Jaume Balagueró's nasty little thriller offers a decidedly darker perspective.

The movie plays things relatively straight, acknowledging clichés without the winking irony in which modern homages usually indulge. As such, it's giddy fun - a well-made genre picture that sends up its influences even as it clearly reveres them.

Director Lisa Albright has less success balancing the tones of two eras: the movie is more successful when replicating matter-of-fact '70s grit than the independent miserabilism of the '90s.

There's not much to the movie, in which we watch the participants crack jokes and complain about their in-laws over corned beef. But when the diners include Sid Caesar, Carl Reiner, director Arthur Hiller ("Love Story"), "Animal House" producer Matty Simmons, and anachronistic announcer Gary Owens, it's worth pulling up a chair.

And now, just as Bella Swan (Stewart) embraces her own eternal power, Breaking Dawn, Part 2 expands with a full intensity of force, stronger and more epic than the films that led to this impactful finale.

The film's structure is so boldly conceived it seems unfair to focus on flaws. But the central problem is undeniable: There is no chemistry whatsoever between the leads.

There is no satisfactory answer to the titular question posed by this no-frills environmental documentary. But first-time feature director Mary Liz Thomson does answer another one at least as important, by showing us who Judi Bari was.

Despite its definitive title, you won't actually learn much about Alfred Hitchcock from Sacha Gervasi's briskly superficial biopic. But you'll enjoy the experience anyway.

Miserable individuals do tend to make for interesting subject matter, and this would be far more of a dry biography without its willfully eccentric lead. Plus, if the crankiness gets to you, tune it out and focus on the music. That's what Clapton did.

Fans can be forgiven for offering this predictable indie some excess generosity, simply because writer-director Marshall Lewy had the good sense to build a movie around such a versatile lead.

Burns has assembled such a fine cast that we leave feeling satisfied, as if we didn't get the iPad mini we wanted, but a pretty good novel instead.

With costumes taking precedence over character, the movie ultimately seems more concerned with atmosphere than action.

It's one thing to sit on your couch watching football in HD. It's another to view one of literature's most enduring fantasies in the same manner. The experience that felt so breathtakingly cinematic in Jackson's "Lord of the Rings" series now seems frustratingly fake.

Mohan should have made a little more effort for us. Another pass at the screenplay probably would have done it. But one gets the sense he's already moved on to the next thing.

Cruise's tightly controlled performance holds our attention all the way through to the tense finale. Still, McQuarrie's script never gets at the heart of a character who's already inspired such a passionate fan base.

Salles has made an admirable effort, which - while no roman candle - can be appreciated for its honest ambitions.

Crystal and Midler are such confident pros that their crack timing elevates even substandard material.

There are no villains here, no attempts to sway opinions or even stake out political ground. Some will find that a disappointment. But the truth is that this effort is both more evenhanded than most dramas with similar themes, and more open-hearted.

When Anderson allows the experts - or simply those most deeply impacted by the changes - to speak, the film has a powerful urgency.

Instead of expanding their sights, Fleischer and Beall narrow them, into a repetitive and increasingly exhausting series of shootouts. By the end, those guns might as well be held by extras, rather than some of the most talented actors of our time.

Music lovers will appreciate both the score and the nostalgic end credits, which revisit the early years of the aged supporting cast (many of whom were actual musicians).

The script relies on too many unlikely twists, but Bleibtreu manages to sell them all.

Avila has a tough task, visualizing violent and complicated events through a child's eyes. The calmer scenes are staged in staid and somewhat clunky fashion, but the graphic animation depicting the worst moments is starkly effective.

There is indeed much beauty on display, from the icy Taiga landscape to the age-old trapping techniques passed on through generations. But this does feel like a lesser Herzog project (he joined on after it was shot). For viewers who don't share his awe, a short film probably would have sufficed.

You'll want to see Eytan Fox's acclaimed 2002 drama "Yossi & Jagger" before watching this intimate, often-moving sequel.

Grohl has a longstanding reputation as one of the nicest guys in rock. So it should come as no surprise that this may be the most positive music documentary you'll ever see.

This is really the kind of movie that was made to be watched in a haze after midnight, at which point it would all, no doubt, make perfect sense.

Newcomers may be disappointed by such a slender effort, but fans of revered Iranian director Abbas Kiarostami will find plenty to appreciate in his observant followup to 2010’s acclaimed “Certified Copy.”

Wang Xiaoshuai’s gently engrossing coming-of-age tale isn’t strikingly unique, but it does possess the heartfelt confidence that comes from autobiographical influence — and natural talent.

While the filmmakers never quite make the case that their chosen melody deserves its own full-length film, they do ensure that you’ll leave the theater happily humming it.

The movie works best as a calling card for young Haney-Jardine, whom we can surely expect to see more of on the festival circuit.

There is plenty of evidence that Webber has something significant to say, and the gifts with which to express himself. Once he’s ready to commit fully to his own vision, there’s no end to what he might accomplish.

This material could so easily have tipped over into false sentimentality, but everyone works with a steady hand. Rebecca Thomas makes an assured debut as both writer and director, the gifted Culkin is excellent as always, and Garner finds lovely shades of nuance in Rachel’s innocent faith.

Most of the performances are as unpolished as they are heartfelt, which is both endearing and distracting.

Philip Roth turns 80 next week, and what better way to celebrate than to serve as the hero of his own story? It’s too bad, though, that this dully conventional biography doesn’t do justice to its subject.

There is enough here — including the gifted Arena’s barely believable backstory — to keep your head spinning.

No one’s winning any awards for The Call. But at least the award winners know how to make it worth our while.

It’s not easy to play twins (in another language, no less), without relying on showy mannerisms to define them. But Mortensen pulls it off. Your move, Franco.

Enthusiasm carries the day in this paint-by-numbers period tale, which is just charming enough to coast on its own clichés.

Perhaps every generation gets the movie stars it deserves. “Olympus” has quite a bit to say about the current state of our country. Intentions aside, not all of it is entirely flattering.

Though Alvarez keeps us watching, he takes no real chances. Buried under all those enthusiastically mangled bodies is the comfort of familiarity. He may have intended to remake a single film, but we’ve seen this movie countless times before.

The fine cast pushes beyond the script’s limits, even if some, like Hope Davis as Ben’s mom, are mostly wasted.

Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they’re both so committed to seducing their audience, it’s a lot of fun watching them try.

To be sure, there are many reasons to see the film. The cinematography is memorably vibrant, and the performances are solid, even if they pass by too swiftly. Most of all, of course, the subject matter remains fascinating.

Though Nair leaves us guessing as to Changez’s motivations, she also uses a pretty heavy hand in laying out the movie’s themes. The changes between the novel and the screenplay are equally unsubtle, especially in regards to the ill-conceived romance.

Directors Maiken Baird and Michelle Major may have begun this documentary with the intention of profiling two of the most successful siblings in sports. But any reality TV viewer knows that bad behavior is always more compelling than likability. So this movie’s title becomes, perhaps to the filmmakers’ own surprise, a little misleading.

Sokolinski, a French pop singer better known at home as Soko, is fully in tune with Winocour’s sharp vision. Her intense, almost accusatory turn feels like the opposing image of Keira Knightley’s intellectual neurosis in 2011’s similarly themed “A Dangerous Method.” Where that film found some lightness within the dark, this one drags an historic darkness into the light.

Plimpton recorded many of these adventures in books that are well worth seeking out. But if you don’t have enough time to do so, Bean and Poling have assembled a delightful cheat sheet.

If you're going to make a movie about men talking, shouldn't they have something important to say?

As it is, while Tunney is undeniably lovely to look at, she's just not that much fun to be around. And for 100 minutes, she's all we've got.

Here's what Crossroads does not have: Cohesive direction from Tamra Davis, intelligent dialogue, a comprehensible plot.

Neither particularly funny nor especially scary. But it's so cheerfully silly, you may just have fun with it anyway.

Dubbed for U.S. audiences, the film has suffered in translation.

It's so cheerfully cheesy, you can't help but be amused.

In Mean Machine, soccer is pretty much an excuse to watch a bunch of grown men smashing their heads together. Which, come to think of it, may be enough.

Awkwardly plotted drama about a runaway child in Central Park.

Fels like an awkward student film.

If you're a rave virgin, it'll more likely make you feel like the guest nobody invited. And why would you pay nine bucks for that?

Judging by the audience reaction -- there is apparently something funny about the idea of a man trying to hump a goat in heat.

Posner paints in pretty broad strokes. The movie is studded with convenient coincidences and obvious observations. But he has also put together a nicely polished production that shines with an almost earnest charm.

Baldly superficial, it probably should have been given a less demanding metaphor to live up to.

This rather limp Australian comedy shares "Bridget's" theme, but none of its panache.

Perhaps simply discovering a film so dedicated to a different perspective is adventure enough.

Looks great but tells us little about the subjects.

Confident that his subject matter is inherently scintillating, however, Moore lays it out in creakily dry fashion. Those who consider computers to be glorified word processors may find their eyes glazing over in a matter of minutes.

Just once, can't a city slicker go country and stay unchanged? Not in this sentimental 1995 Italian drama.

In Bahman Ghobadi's heart-tugger about Kurdish orphans, those wide eyes are too often used as a manipulative device.

Well-meaning but frustratingly unfocused documentary.

The Buis seem not to have complete confidence in their unique, imprecise style, which is too bad.

Something of a mess.

So sudsy it should have been rinsed off before being allowed into theaters.

As earnest as its artless young characters, Tom Rice's intermittently affecting debut walks a well-trod path without finding anything very new.

Americans, for better or worse, have already seen plenty of budget-busting action flicks with half-baked political pretensions.

There's little depth underneath the simmering surface, but if you're looking for escapist Halloween scares, you could do a lot worse.

An evocative melancholy hangs over Princesa, Henrique Goldman's intermittently affecting tale.

It's only when he (Wang) slows down and allows the characters to connect emotionally that his movie's unflinching honesty takes your breath away.

This pretty trifle is a movie about gorgeous women having an illicit affair -- period.

As slight as it is sweet.

This amped-up Japanese thriller is a fairly diverting tale of romantic and cultural alienation.

At its best when it embraces its true identity, as frivolous fun.

With all the brooding, stylized closeups of blood, crosses and cigarettes, the overall effect is fashion-mag chic -- not, as intended, intellectual thriller.

This Grimm-influenced fairy tale has a contemporary twist and the best of intentions, and that's about all there is to say for it.

Good intentions abound in this earnest debut film.

Has the stilted, slightly surreal feel of a stage piece. Sometimes it works, but too often it doesn't.

All we get is mild platitudes before the shows, and one-song sets.

Despite the intriguing potential, the end result is a queasy stalemate.

Never quite knows where it's going - which is especially frustrating, since it takes such a long and painful path to get there.

Novice filmmaker John Henry Davis deserves credit for tackling big issues, but he forgot one of the most important credos of his craft. No matter how vital your message, a good story beats a sermon any day.

Clearly, nobody's going to win any awards for this, but maybe Bale and McConaughey knew what they were doing after all. The music is loud, the action is fierce and the bodies are buff.

Three movies in one: a spaghetti Western, an urban drama and a historical epic. All of them suffer from self-indulgent direction, a convoluted script and awkward acting.

So laughably preposterous that it's thoroughly entertaining.

Abranches intends for a religious parable by way of Greek tragedy, but the film drowns in a morass of portentous signs and poetic symbols.

For a film expressly about an underappreciated culture, there are some boulder-size cliches rolling down these hills.

After a smart start, it sinks into sentimental goo that traps even the aggressively snarky Spade.

Eyre offers a merciless, affecting portrait of reservation life, but his relevant themes eventually wash away in a sea of unnecessary sentimentality.

The story line is frustratingly haphazard, spreading out in several directions without ever focusing on one.

The ideal movie for people too lazy to read a Harlequin romance, this by-the-numbers love story doesn't offer a single surprise.

This sci-fi spoof is desperately bidding for cult-classic status. It falls far short of that goal, but with so many jokes flying wildly around, it does hit its targets every once in a while.

Intriguing almost in spite of itself.

Takashi Miike is a master at making love-'em-or-loathe-'em spectacles, but even fans are likely to consider the final film of his Dead or Alive trilogy a minor entry in his oeuvre.

The film moves briskly enough to be entertaining, but it can't escape the smothering hero worship that Sheridan infuses into every frame.

As earnest as it is awkward, the film has so much spirit, it's hard to dismiss entirely, even at its considerable worst.

Little more than a blatant marketing tool. But it's breezy and brief enough to keep young fans - and even their parents - modestly entertained.

With a few exceptions, the Indian characters are two-dimensional buffoons whose traditions are presented as silly quirks meant for cheap laughs.

Heartfelt but often plodding and awkward, the movie feels like a somewhat subpar Sunday night TV movie.

Eerie, opaque and unblinkingly sadomasochistic.

Watching the movie felt like any number of bad blind dates.

There are movies that are all about the characters, and then there are movies, like Bangkok Dangerous, that are far more about the directors who created those characters.

The cartoonish characters and outsize performances don't make a smooth transition from stage to screen.

Herzog has certainly found a fascinating subject, but he does surprisingly little with it, especially considering the 135- minute running time.

Stocked with an impressively high-quality collection of New York actors. Unfortunately, in asking them all to play such unlikable characters, Walsh flushes too much of that talent down the drain.

There are some light chuckles to be had, but considering its promising parentage, this is surprisingly soft stuff.

With an appealing lead in Cameron, and a nicely brisk pace, there's a decent, midlevel Apocalypse movie here. But be aware that you will have to peel away several pages of the Bible to get to it.

Dylan's stoner comedy barely manages to string together a story, but lucky for him, his two stars radiate charisma even when they're hidden behind clouds of smoke.

Has amusing moments, but falls apart as quickly as a cheap knockoff.

What holds the movie together -- albeit tenuously -- is the surprisingly sweet-natured pairing of Jesse and Chester.

An intriguing idea undermined by a lackluster follow-through.

After the first hour, it starts to convince you that time really can stand still.

Bogdanich turned in an exhaustively thorough document that sheds some light on a tragedy that remains shadowy to those outside its domain.

There's a good little psychological thriller buried underneath all the manufactured shocks, in the story of a powerless child standing alone against a parent's mental illness.

Eventually any serious statement is lost in a sea of sadism, as he forces us to watch scene after scene of gruesome, humiliating torture.

Despite a subpar script and performances, this minor indie entry does possess a rather touching belief in its own charm.

Though the energy occasionally flags, the movie does a nice job of exploiting the crossover potential.

Most of the resulting film is downright bizarre. Which, as it turns out, is not entirely to its disadvantage.

It's a perfectly acceptable short-term baby-sitter. Just make sure the original gets a fair viewing first.

Seems to have been made entirely for people who were kids during the Johnson administration.

Its crazy non sequiturs and anything-goes performances do lend it a certain cult appeal.

Conceived by U2's Bono, it's not quite as bad as it might have been. After all, its own star, Mel Gibson, has famously called this tale of destitute misfits "as boring as a dog's a——."

If all you want is sensory overload, hop in. Driven will get you there.

It's a shame Bravo doesn't allow herself a broader perspective, because she's right to consider Castro one of the most important figures of the 20th century.

An ongoing problem is the complete lack of chemistry between the leads.

Clearly, interest has waned - both because children grow up and because they move on. It might be time for the folks behind this particular fad to do the same.

Though the story itself is undeniably fascinating, this somewhat prosaic account simply doesn't do it justice.

Weintrob's shallow analysis of virtual reality might have been more resonant in the mid-'90s, but he seems well aware that some things are timeless: By the end of his film, he has firmly shifted focus, concentrating far less on the cyber than on the sex.

While the series is smart enough to have inspired an army of adult fans, too little of its droll intelligence is on view here. Instead, the film feels like a rote effort made for some quick box-office bucks.

The movie is so shiny, bright and noisy, the under-10 set ought to be sufficiently entertained.

The frantic proceedings are more likely to have you wishing this summer would just come to an end.

There isn't much here besides two self-absorbed kids.

Zombie's sense of fun gets buried under the growing pile of bodies, and eventually, we're left with little more than a frenzy of sadism.

Though the director takes a thoughtful approach to the material, mixing humor and poignancy, he undercuts our sympathy considerably by dragging things out to an inexplicably indulgent degree.

After lulling us into a neartorpor, Jia sneaks in one of the most gut-punching endings in recent memory.

Occasionally funny but ultimately desperate comedy.

A good-natured, gleefully juvenile comedy in the tradition of such classic snowbound fare as 1984's "Hot Dog: The Movie."

Earnest, fact-based drama is marred only by the fact that it wants desperately to save your soul.

Stooping to low-rent laffs By ELIZABETH WEITZMAN SPECIAL TO THE NEWS Ben Stiller, Drew Barrymore & Eileen Essel (on floor) DUPLEX. With Ben Stiller, Drew Barrymore. Directed by Danny DeVito. Running time: 88 mins. Rated PG-13: Slapstick violence, gross-out humor. There are people who can look at a creaky, crumbling house and home right in on the solid framework and fabulous fireplace. In "Duplex," Ben Stiller is the fireplace. As for the structure, well, this rather rickety comedy boasts a solid base, though sadly, too much of it has been plastered over with moldy jokes and leaky plot devices.

Nolot elicits the last response expected from a movie that's almost entirely about sex: a yawn.

Overwrought and overlong, Returner might been a rousing B-movie -- had it not been hamstrung by Yamazaki's bigger pretensions.

Since the movie's sensibility ranges from the preposterous to the absurd, there are few genuine frights.

In general, movies made by improv comedy groups are hit or miss. And this one, from the Upright Citizens Brigade, misses a whole lot more than it hits.

The leads are all pros, but thanks to the increasing onslaught of shock humor about abortions and rape, among other things, what starts out amusing eventually becomes something of a drag.

Some consider Leigh Bowery a visionary performance artist. Others will see a selfindulgent narcissist. You may want to decide for yourself.

Feels a little too much like a film-school project, but it does offer an informative look at a timely issue.