Essentially amounts to an extended interview with a psycho, fleshed out with background material that, while suitably shocking, is not always illuminating or even frank. The film is curiously shy about calling Varg what he is: a Nazi.

Rising star Michael Shannon makes a riveting shamus hired to chase a runaway husband in the quiet but resonant little noir The Missing Person.

The Young Victoria achieves a fine balance. I guess that's what you get when a film is produced by both Martin Scorsese and Sarah Ferguson.

October Country doesn't really have a point, or a story, but it's an almost unbearably vivid portrait of four generations in a single working-class family.

A working-class hero of a film.

A roaring old-school action adventure for kids, with as many mythical beasts as a year at Hogwarts and a healthy dose of smiting without the crazed bloodlust of “300.”

A sometimes insightful, sometimes absurdly devotional but steadily engaging film.

It's mainly about a supremely annoying French-born LA clothier who became a hugely successful artist without pausing to consider his utter lack of originality or talent.

The story quietly builds to a rueful and fraught climax in which Campbell Scott does his usual exceptional work

High praise for the movie Mother and Child: It's as good as a TV show. Although it's not as fine as HBO's "In Treatment," a show run by this movie's writer-director, Rodrigo Garcia.

Nutty? Maybe. But a pungent blast of the cinema du bonkers is just what this summer's multiplexes need after weeks of bromide-stuffed retreads that are as smug about their lack of originality as packs of teen girls who dress exactly alike. Mock Jonah Hex if you must, but you can't say you've seen a lot of other supernatural Westerns lately.

A mashup of Nick Hornby and Martin Scorsese? Why not?

Though Despicable Me is a little ragged on story, it's got a lot of imagination and a heart as warm as a fluffy kitty.

Dispenses with much of the caramel gooeyness of the first two episodes in favor of decent action, some heartfelt tender moments and even a splash of wit. This time they’re actually Twi-ing.

Illustrating the many ways nuclear weapons could kill you makes Countdown to Zero one of the most frightening documentaries you'll ever see, or endure.

The film is shaky as a procedural, and the level of official corruption seems more Moscow than Melbourne. Yet as a fable of power, vengeance and betrayal it exerts a quiet, increasingly wicked pull, equivalent to that of the wrinkly but ruthless grandma.

The Miyazaki legacy is in good hands.

The Romantics isn't as consistent or as well-rounded as its parent, "The Big Chill," or as entertaining as its less literate but more extroverted cousin, "St. Elmo's Fire," but with its tart dialogue and its perfect ending, it is sensitive as well as sagacious. It's a rare combination.

Splashed with Monte Carlo glamour, physical comedy and nimble scams, the movie rolls along enjoyably to its goofy but endearing big scene: an homage to "Dirty Dancing."

Its personal, newsmagazine touch will make your heart ache for its cross-section of humanity.

An invigorating and surprising journey.

Douchebag belies its abrasive title with a soft touch for two wobbly souls.

Red has more snappy joy in store than practically all of last summer's busted blockbusters.

See his movie now, brag about your discerning taste for undiscovered talent later.

Inspector Bellamy leaves a sense not unlike a summary of Chabrol's entire career -- of guilty stains seeping away in every direction, of motives hidden and of endless stories that frustrate full understanding. To Chabrol, no life is ever a closed case.

The eye-popping and entertaining The Chronicles of Narnia: The Voyage of the Dawn Treader offers a merry seafaring jaunt together with plenty of adventures led by magically empowered kids.

I didn't buy how The Next Three Days plays out - but I almost bought it, and that's good enough for a thriller.

I wouldn't want to see five movies like this one each week but it's a cheeky, madcap joyride.