Every aspiring performer will appreciate Gregori Viens' unassuming comedy, which cheerfully skewers industry pretensions and media-fueled trends.

The actual Taqwacore movement is distilled in blatantly simplistic fashion, but Zahra does capture the novel's adolescent excitement, in which a new generation rediscovers rebellion all over again.

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.

You won't find a tale more true to our city than the extraordinary history of Pale Male. It's just unfortunate that Frederic Lilien's documentary is as clunky as his subject is graceful.

It's a fascinating story, and too epic to be contained here. But the directors certainly capture our interest, even as they leave us wanting to know more.

Soderbergh does his best with limited time, but his biggest success may be in pushing viewers home, to watch Gray's films in full.

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

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

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.

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

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.

A good-natured and highly enjoyable goof.

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

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

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

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

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

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

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

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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

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

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

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.

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.

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.

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.

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

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

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.

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.

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

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

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.

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.

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

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.

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.

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

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.

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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

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

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.

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.

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

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

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.

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

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.

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

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.

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

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.

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.

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

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).

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.

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

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.

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.

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

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.

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

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

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

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

To maximize your entertainment budget, look no further.

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

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.

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.

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

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

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

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

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

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.

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 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.

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

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

The most adorably filthy movie you may ever see.

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.

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.

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.

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.

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.

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.

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

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

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

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

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.

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."

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.

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.

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

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.

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.

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

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.

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.

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.

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

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

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).

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

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.”

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

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.

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.

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

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.

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

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.

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.

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.

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

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.

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.

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.

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.

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

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

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.

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.

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

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.

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.

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.

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.

Valentine's Day is sugary, sappy and totally predictable. It's also what a whole lot of women are likely to want.

If you're just hoping for a little easy escapism, bring your tissues and leave your high standards at home.

It's fair to say that Bullock's appealing portrait of a strong-willed Tennessee belle ranks among the best work of her career. It's just too bad the movie around her comes up short.

The humor is sharp and so are the judgments, which pile on until the characters are nearly suffocated under the weight of so much disdain.

Baldwin and Streep do make the most of the situation, and their sparky chemistry provides the only real draw.

Doomsday views are a knockout, but the script is a real disaster.

You'll have a few laughs, for sure. Just don't expect to enjoy yourself as much as everybody on screen.

Has its moments, it's also regrettably ordinary.

If we learn anything from Away We Go, it’s that a lack of ambition might not be such a bad thing after all.

Only real fans, however, will be willing to slog through the heaping helpings of incomprehensible exposition.

Both lightweight and heavy-handed, Carl Bessai's arthouse drama can't even be redeemed by Ian McKellen's sensitive turn in the title role.

McAvoy is unerringly charming as Rory, a man who quickly discerns and dismisses well-meaning condescension. So one can't help wondering what he would think of this film, whose sentimentality comes across as smug.

Krause is very nearly too passive. Deadpan is one thing, an empty vessel is another.

A disappointing retread of a bunch of better movies.

But where there is a natural poetry of motion in surfing movies, off-road racing is a herky-jerky pastime whose ­appeal is hard to fathom. I guess you had to be there.

The story doesn't make any real sense, and the production values are home movie-cheap. But the cast seems to be having fun.

There are some funny moments and amusing cameos, but it's not enough to elevate this project's slapdash approach.

The first feature from Adam Bhala Lough is brashly passionate in its desire to express the power and validity of graffiti art. But it's also preachy and single-minded, populated by a world of sympathetic heroes and hissable villains.

Had director Ziad Doueiri focused on the resentful Arab youths who clatter provocatively around the edges of his Marseilles-set drama, he might have discovered something interesting.

The real miracle here is that the hard-working cast manages to turn McGowan's script into an intermittently touching tale.

Jakubowicz successfully portrays a country corrupted beyond repair by financial inequality. But the sadism that drives the story is so gleefully nasty, it overshadows any rational arguments he's trying to make.

Pulse works as a hypnotic meditation on contemporary alienation. Traditional horror fans, however, will search in vain for signs of life.

At least it's as sweet as it is superficial.

She has tackled difficult subjects with sharp wit, but this self-congratulatory set falls well short of our ensuing expectations.

Gaël Morel's intermittently poignant study in familial discord isn't quite substantive enough to support its histrionic tendencies.

There are two ways of looking at Paul Etheredge-Ouzts' thriller, which he is proudly billing as "the first-ever all-gay slasher film." Either it's a truly lousy retread of horror-movie clichés, or it's a mildly amusing sendup of them.

The buoyant McMillan is a charming presence, but he's entirely miscast as a character described as moody and angry.

Despite an admirable effort to explore topical concerns, both director and actor are obviously overwhelmed by the immensity of the subject matter.

You may not subscribe to the film's evangelical message, but you'll be floored by the extraordinary musical scenes, which lead up to a showstopper featuring gospel superstars like Donnie McClurkin and Yolanda Adams.

Like its troubled protagonists, Mark Milgard's ultra-sensitive ode to adolescent angst is equal parts earnest and awkward. Should you happen to be a 15-year-old girl, you'll adore it.

Unfortunately, Wendeers frustrated wake-up call quickly buckles under the heavy burden of its earnest message.

Hunt and, especially, Harper do excellent work rounding out sketchily-written roles. But Pardue, who offers little beyond movie-star looks, is either miscast or genuinely unable to grasp his character's intense longing and insecurity.

Overall, though, you get the exhausting feeling that Stolberg is desperately trying to prove how cool he is. And didn't you see enough of that in high school?

Though the overall effect feels a little anemic compared with its predecessor, the ads promise blood, and - oh yes - there is blood.

Working with a self-consciously urgent, neo-noir style, Goldberg seems intent on expressing a meaningful message of some kind. It's too bad, then, that he has chosen such a shallow subject.

Fashion is something you either get or you don't, and whether you'll want to lay down $10 for Douglas Keeve's insider documentary depends entirely on whether you'd spend your last few bucks on the new issue of Vogue.

After an hour of red herrings, in which Jill investigates creepy corridors or opens rattling closet doors with no results, the only real danger is that we'll become bored to death. For real thrills, rent the original, turn down the lights and scare yourself silly.

Curious George has long been a bedtime staple, but this animated film version may be the first time his story puts parents to sleep.

After a fiendish start, filmmakers James Wong and Glen Morgan approach their task with all the subtlety of a hammer to the head (or a knife to the gut, or an ax to the back). They do, at least, find a mordant humor in the formula.

Perry makes sure villains get their comeuppance, while heroines get big, frilly weddings - with God, and an imperious Maya Angelou - presiding over it all.

Hafstrom never finds the shades in his morality tale, so while Wilson is an intensely charismatic actor, all he can do is respond to relentless, escalating tortures. It's immensely unpleasant for him, and, frankly, not a whole lot better for us.

A cross-dressing comedy that's all dressing can only, well, leave you cross.

Redmon has captured some compelling footage, but his lack of resolution feels like both a copout and a luxury.

Co-stars Parker Posey and Chris Kattan offer minor diversions, but the humor never rises to the quality any New Yorker, regardless of sexual orientation, would expect.

Julian Jarrold's cheerful, utterly predictable crowd-pleaser affirms that, according to many recent films out of Britain, there's a quirky interest to cure whatever ails you.

Overlong at just 91 minutes, Brant Sersen's sardonic sports mockumentary would have made a hilarious short film. Instead, it's a mildly amusing feature that takes a few too many potshots at some very broad targets.

Some moments of off-the-cuff beauty aren't enough to mask the creepy heart of Larry Clark's latest look at outcast kids.

There are moments of genuine emotion between the wacky tryouts and the nail-biter finale, and it seems churlish to complain. But there's little room for laziness around superior players like "Shaolin Soccer" and "Bend It Like Beckham."

Austrian director Michael Sturminger's debut feature creates a visually evocative environment in which to explore some significant themes, from religious repression to Freudian guilt.

Based on the last book in Phyllis Reynolds Naylor's award-winning trilogy, this third installment in the family-friendly "Shiloh" series is perfect for anyone who wishes "The Waltons" was still around.

Like the homeless kids at its center, Alison Murray's feature debut is passionate, angry and suffering from a serious lack of discipline.

Nunez's fans will appreciate his ability to evoke a palpable atmosphere. But there's just not enough spark in his scorched setting.

The kind of movie in which plot and performances (and members of the fairer sex) are treated as accessories, "Tokyo Drift" is all about the action. And on that count, it won't let you down.

Machado establishes a realistically seamy environment for his erotic triangle, and there are some surprisingly tender moments amid the squalor.

Offering both too little material and too much, the movie leaves us in the bizarre position of understanding its subject no better by the end than we did at the beginning.

It's a bad idea to get too fond of any character, no matter how worthy he (or she) may appear.

Every woman falls for the wrong guy at least once in her life. This week, it's Betty Thomas' turn.

While Seidelman deserves considerable credit for making the rare romantic comedy about seniors, it's a shame the movie itself is as bland as a low-sodium diet.

If August has turned the children in your life into Bored Girl and Fidget Boy, you could find worse ways to keep them entertained.

A Belgian "Deliverance," Calvaire (The Ordeal) not only treats us to a few good scares, it also teaches us that Europe has its own rednecks.

Like its underachieving protagonist, Steve Pink's teen comedy Accepted flashes just enough charm to get by but is too lazy to really make anything of itself.

At this late date, filmmakers who draw inspiration from the Mafia had better have a whole new angle to offer. Otherwise, they'll end up with a movie like 10th & Wolf.

Among the cast, Chandrasekhar is easily the funniest of the Lizards, though in fairness, each has his moments. The movie does, too; just expect them to shrink exponentially depending on your level of sobriety.

The soundtrack is a genre-hopping joy, and each musical number is cleverly staged and creatively choreographed. The problem is the noble mess of a movie that takes up so much space in between.

More vanity project than full-fledged film, Manu Boyer's modest chronicle is best left to diehard Kiefer Sutherland fans.

The Rock commits himself admirably to this trite tale, but by the end, even his enormous shoulders buckle under the weight of so many clichés.

There's a certain morbid fascination, and perverse humor, in watching grown men enthusiastically turn themselves into human cartoons. (For better or worse, these guys are their generation's Stooges.)

With its halfhearted script, stiff performances and overlong running time, this is the kind of movie that's simultaneously dazzling to look at, and increasingly tough to sit through.

Ultimately, we're looking at a discount "Office Space."

Some documentaries are so well-made they transcend the nature of their subjects. This is not one of them.

While The Grudge 2 feels like a second-generation copy - a little faded, with less impact than the first - there are still plenty of moments that will linger in your nightmares.

Granted, this movie is unlikely to threaten "The Departed" at Oscar time. But for mindless entertainment, you could do a lot worse.

Goldthwait explores his themes more thoughtfully than you'd expect, but ultimately, we know just how things will end. And what's subversive about that?

The movie's considerable problems are not the fault of its dedicated star, Nicole Kidman. She does her job beautifully - which, come to think of it, may be something of a problem after all.

Odenkirk is an expert at the unexpected laugh. (This must be the first prison movie in which a cafeteria put-down involves the painter Lucian Freud.)

With the film's hypnotic emphasis on artistry and architecture, most viewers will probably get their satisfaction from the striking visual elements, particularly the stop-motion animation.

Tossing off one-liners about drugs and porn to a New York audience, even Waters sounds a little bored.

Casting choices seem oddly random (only Cavanagh and Nicholson have any familial chemistry). And the humor, which is vital to a movie this inherently grim, falls flat.

While the cast members, Dick and Prinze in particular, have fun with Robert Moreland's sassy script, the exaggerated, unappealing animation seems to belong to another movie altogether.

Who would have thought that a real-life tale of sex, drugs and murder could be so instantly forgettable?

So, yes, the story is bland and predictable and disappointing. But here's the thing about dance movies (or cheerleading movies, or even marching band movies): All that really matters is the action.

Passion this profound can't help but make an impact.

Writer-director Jordan Walker-Pearlman can't adequately handle either of his tasks: The script is as sappy as the direction is awkward. Fortunately, he was smart enough to enlist a cast of pros who can ably sidestep the project's many potholes.

Come to think of it, 84 minutes isn't much of a sacrifice for a few laughs, even if the material is almost as hit-or-miss as our heroes' shooting skills.

This exhausting romance feels more like a long-lost episode of "Three's Company" in which Jack Tripper decides he is actually gay.

The first midlife crisis movie apparently made with 8-year-olds in mind, Walt Becker's Wild Hogs brings several talents together for a single, clear purpose: to pay off their mortgages.

For many kids, the response to the original story remains delighted awe. The most appropriate response here is a thoroughly baffled "huh?"

Yeah, the story is corny and tired. But when you aren't rolling your eyes, you'll probably be wiping them dry.

After allowing sadistic violence and whining children to invade his movie like a horde of termites, Carr tries to put one over on us by tacking on a sentimental ending. But as any homeowner could have told him, you can't disguise a weak foundation with a cheap finish.

If Firehouse Dog was on cable, where it belongs, it would make a passable diversion from homework or chores. But a kid would have to be pretty desperate to leave the house - and waste allowance money - for this modest distraction.

The script, which is rarely smart and barely scary, offers little more than a checklist of panic-inducing plagues, from locusts to boils to bad Southern accents.

Think you'd be happy watching Berry do little more than look beautiful? Perfect Stranger gives you plenty of opportunity to find out.

The dialogue does have Coupland's characteristic snap, but like its mellow hero, the movie takes the easy route just a little too often.

Good as she is, the effortlessly magnetic Hayek just can't sell the role of a pathetic soul whose deep insecurities turn her into a sociopath. And if she has too much charisma, Leto, as the smooth Lothario, simply doesn't have enough.

Despite its desperate attempts to appeal to every possible age group, there is no obvious audience for this movie.

Adapted from a years-old stage play, The Salon, Mark Brown's stilted, sista-centric answer to "Barbershop," definitely shows its roots. And despite a few highlights, the overall effect is not pretty.

A nicely confident Schroeder strides though the movie as if it's a masterpiece, and Mulroney is equally charismatic. But they can't quite save Gracie from feeling like a vanity project that will appeal mostly to middle-school soccer teams, and various extended members of the Shue family.

This is the kind of movie in which Jarrod's nemesis turns out to be paraplegic, while his dad lives in a wheelchair despite the fact that he can walk just fine. Ha.

A curse would be a great improvement on the wishy-washy wickedness of this movie.

Rev. Robin Williams goes from mildly comic to downright creepy.

Even the food - usually the centerpiece of a restaurant movie - is oddly uninspired. Despite Zeta-Jones' best efforts, barely a moment here feels organic, or fresh.

The Ten is so proud of its own wit and irreverence that when you fail to be equally impressed, you are likely to wonder if your own sense of humor is, in some way, deficient. Rest assured it is not.

What kind of movie is misdirected, poorly acted, preposterously written--and still wholly entertaining? A B-movie, of course. While Illegal Tender has misguided pretensions towards Serious Filmmaking, it's surprisingly likeable if you see it instead as a cheesy thriller good for a lazy Friday night.

There are certain elements in life that you either have a taste for, or you don't. Like coffee. Cats. And Mr. Bean.