And now with Tangled, a delightfully fresh spin on "Rapunzel," the entertainment powerhouse delivers its first classic-caliber computer animation outside the Pixar family.

The metaphor is plain yet elegant: Ai is the clever cat busily devising ways to push through the barriers physical, cultural, mental -- that make humans less than free. And in China, of course, the biggest of those barriers is the one-party state.

You can read Emma's affair and its eventual effect on Edoardo as an inverted oedipal thing, or perhaps as a metaphor for decadence, the embodiment of a family that subconsciously realizes it's in decline and must fight to warm its blood.

Offers valuable historical, social and political context, particularly if you aren't an international-news junkie.

Mark Ruffalo, in just the right amount of stubble, grease and leather, plays Paul, about as cool an instant dad as a SoCal kid named Laser could hope for.

A precisely calibrated crowd-pleasing machine, balancing action, comedy and just the bare minimum of pathos.

A delicious trifle for anyone who has ever dreamt of bantering about the cinema with Luis Buñuel or lounging at the piano to hear Cole Porter sing "Let's Do It."

There are moments when this funny, self-consciously quirky film feels a bit like a Welsh "Napoleon Dynamite."

Shot in verite style with handheld cameras and rule-breaking quick cuts, Cahill's film moves slowly between moments of heartache and quiet beauty.

As a portrait of modern warfare, politics and propaganda, Coriolanus is intriguing, even if the gritty action sequences don't quite measure up to the realism of "The Hurt Locker."

As the filmmakers trace the troubles of his later life -- psychological, financial, marital -- they flesh out a portrait of a reluctant guru whose human imperfections make him all the more inspiring.

It is intended for an audience that is willing to take a journey without knowing the destination.

The perfect movie for fans of "The Daily Show" who actually stick around for the second-half interview. A cinematic memoir based on the one-man show by Mike Birbiglia, it is the aesthetic intersection of Comedy Central and public radio.

It's a style of storytelling that leaves the audience guessing, but it also gives the actors room to breathe, to inhabit their characters without having to explain them away in terms of biography or pop psychology.

It's an engaging, accessible documentary that explores the (truly) eternal questions, "Does hell exist? If so, who ends up there, and why?"

Beautiful Creatures rises above the rabble thanks to an eminently watchable cast and a sharp screenplay by writer-director Richard LaGravenese.

If you're a fan of provocative, offbeat films such as "My Own Private Idaho" or "The Crying Game," you might want to give "Phillip Morris" a chance.

What he (Fukunaga) doesn't deliver, however, is a fresh take on an often-told love story.

Depending on your own relationship with food, the pro-vegetarian documentary Forks Over Knives may be an inspiring call to action, a tedious bit of propaganda or a 90-minute guilt trip.

X-Men: First Class isn't anywhere close to being a genre classic like "Spider-Man 2" or "The Dark Knight," but it is good enough to rejuvenate a franchise stuck on idle.

As cultural criticism, this commentary on life in the age of TMZ and the "Real Housewives" is hardly insightful, but it is executed to dizzying, Fellini-esque perfection, a miniature masterpiece amidst more modest amusements.

Unlike, say, Val Kilmer's Jim Morrison in "The Doors," Thomas makes no attempt to create a convincing facsimile of Hank Williams, which is just as well, since he bears little resemblance to the sinewy singer.

As an analysis of the causes of migration, it is one-dimensional and unconvincing. But as a social history of Latinos in America, it is provocative and fascinating. And as an indictment of decades of economic injustice and covert military action committed in the name of freedom, it is devastating.

Wild Grass retains a literary feel with the help of an unseen narrator, who offers intriguing poetic observations. And Resnais' visuals are equally lyrical. What can you say: The French sure know how to make pretty pictures.

Despite the lethal force that inevitably gets applied to poor Lisbeth, we never really fear for her safety, but we do fear for her future happiness. That is where the real drama lies.

Sarah Burns steals scenes as a seemingly prim social worker, and Melissa McCarthy (Sookie on "The Gilmore Girls") does the same as a pushy neighbor. The supporting cast serves up enough small moments of surprise to keep this formula flick from falling flat.

The best thing about the film is neither the top-notch CGI nor the shallow moral lessons but the performance of Will Poulter ("Son of Rambow") as Lucy and Edmund's insufferable cousin Eustace Scrubb.

The many battle sequences, though carefully detailed, are lacking in energy and originality. There is some ambition here, but the results fall short.