Manohla Dargis

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For 1,805 reviews, this critic has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this critic grades 1.2 points lower than other critics. (0-100 point scale)

Manohla Dargis' Scores

  • Movies
  • TV
Average review score: 61
Highest review score: 100 Killer of Sheep
Lowest review score: 0 How to Lose Friends & Alienate People
Score distribution:
1805 movie reviews
    • 80 Metascore
    • 70 Manohla Dargis
    For those who do enjoy being smacked around by the ocean, for those who thrill to the romance and hype of extreme surfing and dig the outsider aspect of this rarefied culture or at least its marketed cool, this film will likely be their ticket to ride a board by proxy.
    • 70 Metascore
    • 70 Manohla Dargis
    He's (Carrey) an unruly commodity and, as such, compulsively watchable.
    • 47 Metascore
    • 70 Manohla Dargis
    The Guru turns out to be just a flirtation with the musical rather than a full-on embrace. That's a shame because the musical interludes are where the film wears its heart and finds its soul.
    • 69 Metascore
    • 70 Manohla Dargis
    Mr. DeHaan, whose vulnerability and physical awkwardness here can evoke the young Leonardo DiCaprio in "What's Eating Gilbert Grape," is invaluable. Mr. Russell and Mr. Jordan are as likable as their characters, but it's Mr. DeHaan who pulls you uneasily in.
    • 56 Metascore
    • 70 Manohla Dargis
    Non-Stop doesn’t make any sense, but that’s expected, uninteresting and incidental to the pleasures of a slow-season Liam Neeson release as diverting as this one.
    • 64 Metascore
    • 70 Manohla Dargis
    The movie should be manna for anyone who likes animated fantasias without wisecracks, commercials and overwrought warbling about self-actualization, meaning that it's suitable for those who will grow up either to be the next Tim Burton or simply to enjoy his movies.
    • 88 Metascore
    • 70 Manohla Dargis
    Up
    Passages of glorious imagination are invariably matched by stock characters and banal story choices.
    • 71 Metascore
    • 70 Manohla Dargis
    A solid yet fleet French thriller about a society kidnapping and its shockwaves.
    • 50 Metascore
    • 70 Manohla Dargis
    The director, John Crowley, handles Steve Knight’s snaky script capably, introducing the characters, their backgrounds and the political stakes in bold strokes.
    • 76 Metascore
    • 70 Manohla Dargis
    Blissfully unconventional as a documentary and as an intellectual endeavor, Is the Man Who Is Tall Happy? won’t tell you everything you’ve always wanted to know about Mr. Chomsky, but its modesty is one of its strengths, along with Mr. Gondry’s entrancing, vibrant illustrations.
    • 64 Metascore
    • 70 Manohla Dargis
    As is sometimes the case with movies that take on civil and political rights without force-feeding the audience,A Better Life" plays the human interest angle hard. It tries to put a lump in your throat and a tear on your cheek (it succeeds), pumping your emotions doubtless in an attempt to look nonpartisan.
    • 75 Metascore
    • 70 Manohla Dargis
    Like its predecessor, The Trip to Italy flirts with seriousness yet invariably, perhaps rightly, it always goes for the joke, the pun, the fun and the sun.
    • 61 Metascore
    • 70 Manohla Dargis
    There isn't much else to the film beyond slapstick antics and professional gloss, but the results are diverting enough, in great measure because it's essentially a scene-by-scene remake Mario Monicelli's 1958 satire, "Big Deal on Madonna Street."
    • 74 Metascore
    • 70 Manohla Dargis
    Furiously paced, with excellent performances by Forest Whitaker as Amin and James McAvoy as the foolish Scotsman who becomes the leader's personal physician, the film has texture, if not depth and enough intelligence to almost persuade you that it actually has something of note to say.
    • 68 Metascore
    • 70 Manohla Dargis
    A muscular, maddening exploitation movie embellished with art-house style and anchored by solid performances.
    • 74 Metascore
    • 70 Manohla Dargis
    The story that emerges is programmatic and largely unsurprising, but these children give it messiness, joy and life.
    • 75 Metascore
    • 70 Manohla Dargis
    As gateway drugs go, The Lego Batman Movie is pretty irresistible. It’s silly without being truly strange or crossing over into absurdity. Along the way it pulls off a nifty balancing act: It gives the PG audience its own Batman movie (it’s a superhero starter kit) and takes swipes at the subgenre, mostly by gently mocking the seriousness that has become a deadening Warner Bros. default.
    • 70 Metascore
    • 70 Manohla Dargis
    Mr. Chace does his finest work with Mr. Padrón, and together director and actor create a portrayal of a man who, even as he’s stirred to action, seems increasingly burdened by his sentimental education.
    • 65 Metascore
    • 70 Manohla Dargis
    It’s no surprise that the teams hired to bring a property like Deadpool to the screen know how to keep the machine oiled and humming; it’s the ones who somehow manage to temporarily stick a wrench in the works, adding something human — a feeling instead of another quip — who are worth your attention.
    • 42 Metascore
    • 70 Manohla Dargis
    The movie is ridiculous, but since the special effects are really quite impressive, that seems a small point.
    • 75 Metascore
    • 70 Manohla Dargis
    As a filmmaker, he (Leconte) doesn't have anything profound to say but does say his something with craft, visual flair and professionalism. Depending on your mood, that can be either too little or just enough.
    • 69 Metascore
    • 70 Manohla Dargis
    This entertaining, glib movie is about the maintenance of a brand that Ms. Wintour has brilliantly cultivated since she assumed her place at the top of the editorial masthead in 1988 and which the documentary’s director, R. J. Cutler, has helped polish with a take so flattering he might as well work there.
    • 65 Metascore
    • 70 Manohla Dargis
    Mr. Tavernier’s filmmaking here is loose, almost casual, and you may not always notice what he’s doing with the camera as he frames the ministry’s choreographed chaos with its whirling people and parts.
    • 90 Metascore
    • 70 Manohla Dargis
    Its focus is purposely narrow. But that narrow focus, along with the lack of fully realized characters, and the absence of any historical or political context, raises the question of why, notwithstanding the usual (if shaky) commercial imperative, this particular movie was made.
    • 68 Metascore
    • 70 Manohla Dargis
    The screenwriters, Daniel Pyne and Glenn Gers, hit the customary thriller notes with a touch of humor, and the director, Gregory Hoblit (who worked similar terrain in "Primal Fear"), arranges those notes into a catchy, insistent rhythm.
    • 85 Metascore
    • 70 Manohla Dargis
    Filled with meticulous set pieces, including a showdown between Snow and Moon set among swirls of golden-yellow leaves, Hero is easy on the eyes, but it's too segmented to gather much momentum and too art-directed to convey much urgency.
    • 71 Metascore
    • 70 Manohla Dargis
    Girls Trip adds complexity to the picture by bringing in class, even as it dispatches with whiteness, showing it the door so that these women can find themselves while rediscovering the power and pleasures of sisterhood.
    • 69 Metascore
    • 70 Manohla Dargis
    The pleasures of Ms. Breillat's work are its commitment and seriousness and its raw, sometimes very funny perversity: she's lets everything hang out, without apologies.
    • 66 Metascore
    • 70 Manohla Dargis
    Meta to the max, filled with clever jokes and observations that stick like barbs and deflated ones that land with a thud, Seven Psychopaths is a leisurely riff about movies, violence, storytelling and the art of the steal.
    • 52 Metascore
    • 70 Manohla Dargis
    A diverting neo-noir, Deadfall brings to mind those dark, old-fashioned entertainments in rotation on Turner Classic Movies that suck you in with their genre machinery, sullen beauties and despair.
    • 71 Metascore
    • 70 Manohla Dargis
    If Mr. Tippet and Ms. Mims weren't such accomplished visual stylists, you might even think that the teenagers shot the documentary themselves, which explains both its appeal and its limitations.
    • 49 Metascore
    • 70 Manohla Dargis
    Sails along on a slipstream of pleasant scenery, amusing incident and the boundless charms of its appealing leading men, Jackie Chan and Steve Coogan: It's an unexpectedly buoyant spectacular.
    • 77 Metascore
    • 70 Manohla Dargis
    Ms. Waterston, a Modigliani in motion and often in black, easily holds your attention, but it is Ms. Moss, with her intimate expressivity, who annihilates you from first tear to last crushing laugh.
    • 60 Metascore
    • 70 Manohla Dargis
    Tells the depressing, often ridiculous and generally enraging story of how and why Mr. Chong, an extremely laid-back and genial camera presence, ended up doing time in the minimum-security Taft Correctional Institution in Taft, Calif.
    • 61 Metascore
    • 70 Manohla Dargis
    In its milieu and parallel story lines, the film suggests a bantam "Short Cuts," but for better and for worse, this is Altman without the razored edge. Cholodenko elicits appealing performances from her ensemble, but she never pushes their characters anywhere there isn't an easy out.
    • 60 Metascore
    • 70 Manohla Dargis
    Given the stakes, it’s hard not to wish that Mr. Gandini had been more ambitious: at 85 minutes, Videocracy can only scratch the surface. Even so, after watching it, you realize that even a cursory look at Mr. Berlusconi is crucial to understanding an age in which celebrity is now the coin of the realm.
    • 73 Metascore
    • 70 Manohla Dargis
    It's striking on several counts.
    • 64 Metascore
    • 70 Manohla Dargis
    Vaporous and chilled to freezing, Interview lacks a single honest moment, but it does have plenty of diverting ones.
    • 62 Metascore
    • 70 Manohla Dargis
    Less gore is more here, and what a relief. The Woman in Black isn't especially scary, but it keeps you on edge, and without the usual vivisectionist imagery.
    • 56 Metascore
    • 70 Manohla Dargis
    The yummy Japanese confection Kamikaze Girls deserves both a better title and an audience to go with it.
    • 52 Metascore
    • 70 Manohla Dargis
    Too long by half, burdened with shabby F/X and offering up some seriously weird performances, this pricy foray into science fiction is a muddle of miscues and narrative bloat--along with a lot of frivolous fun.
    • 77 Metascore
    • 70 Manohla Dargis
    Ms. Berg has created an unnerving, sometimes infuriating documentary. She makes smart choices throughout as she weaves together this chronicle of faith and abuse.
    • 63 Metascore
    • 70 Manohla Dargis
    There are modest pleasures in a familiar story told differently enough that you're happy to keep guessing and watching.
    • 64 Metascore
    • 70 Manohla Dargis
    Avenue Montaigne is a bonbon, not a bouillabaisse. But because this is finally a film about desire, it carries a bittersweet tang.
    • 45 Metascore
    • 70 Manohla Dargis
    The monster that creeps into the satisfyingly shivery horror film Intruders doesn't just hide under the bed, it also lurks in dark corners, including those dimmed by your own imagination.
    • 63 Metascore
    • 70 Manohla Dargis
    There's something about the movie that sets it apart from the usual thriller. Franklin may not be a master of genre like Hammett and Chandler, but he knows that it means SOMETHING when a character throws a punch or fires a gun.
    • 72 Metascore
    • 70 Manohla Dargis
    Wry and tender and delicately melancholic, Woman on the Beach shows a newly confident filmmaker again working near the top of his form after the disappointing “Tale of Cinema” (2005), even if the new film unfolds straightforwardly, with none of the narrative ellipses and puzzle-box complications, the flashbacks and parallel story lines of his earlier work.
    • 59 Metascore
    • 70 Manohla Dargis
    A soulful romance, an existential action flick and something of a miracle movie — the appealing slow-burner Salvo hovers at the crossroads of genre.
    • 52 Metascore
    • 70 Manohla Dargis
    The director has created a slick, newer-than-new, faster-than-fast entertainment to end all entertainments.
    • 69 Metascore
    • 70 Manohla Dargis
    From the ample evidence, Mr. Harris’s own life in public was a bust. Ms. Timoner sees him as a cautionary tale as well as a visionary.
    • 73 Metascore
    • 70 Manohla Dargis
    Mr. Hirokazu never overly explains his stories through the dialogue, preferring to tease out their meaning visually.
    • 88 Metascore
    • 70 Manohla Dargis
    That film does have its attractions, notably in its two solid leads and standout support from Mr. Pearce.
    • 54 Metascore
    • 70 Manohla Dargis
    Likable, lightweight, absurdist comedy.
    • 74 Metascore
    • 70 Manohla Dargis
    As a director, Ms. Zexer has a fine eye for the texture of daily life, which she fills in with resonant physical details and sweeping, scene-setting views.
    • 74 Metascore
    • 70 Manohla Dargis
    In his smart, timely documentary about the G.I. Movement, Sir! No Sir!, Mr. Zeiger takes a look at how the movement changed and occasionally even rocked the military from the ground troops on up.
    • 60 Metascore
    • 70 Manohla Dargis
    Sliding into theaters on a river of slime and an endless supply of good vibes, the new, cheerfully silly Ghostbusters is that rarest of big-studio offerings — a movie that is a lot of enjoyable, disposable fun.
    • 73 Metascore
    • 70 Manohla Dargis
    Rotoscoping makes certain sense for a film about cognitive dissonance and alternative realities, though both the vocal and gestural performances by Mr. Reeves, Mr. Harrelson and, in particular, the wonderful Mr. Downey make me wish that we were watching them in live action.
    • 78 Metascore
    • 70 Manohla Dargis
    There's a story, in case you're looking for one, though it's almost an afterthought, just the thin glue holding everything together, including the fine cast, the sense of broody place and the fatalism that seems to come with it. Mostly there's Mr. McDonagh's playful, sometimes overly cute language, which serves the actors and also threatens to upstage them.
    • 80 Metascore
    • 70 Manohla Dargis
    Time and again the movie stops short before it really gets started, as with the debates over the big business of organic food.
    • 32 Metascore
    • 70 Manohla Dargis
    Throws us directly into the ring for one of the most brutal fight scenes in American film.
    • 55 Metascore
    • 70 Manohla Dargis
    Tom Hardy and Tom Hardy are the reasons to see Legend.
    • 75 Metascore
    • 70 Manohla Dargis
    Mr. Eska’s choices are thoughtful if sometimes studied: the movie is well cast with solid performers, and if the handsome digital images look overly sharp, as if outlined in razor, he consistently makes the most of his limited resources.
    • 82 Metascore
    • 70 Manohla Dargis
    Better than the usual Hollywood rot, but dialectical it ain't.
    • 58 Metascore
    • 70 Manohla Dargis
    There's delight to be had from watching Burton conjure up one fantastical Edward-inspired scenario after another.
    • 71 Metascore
    • 70 Manohla Dargis
    One of the pleasures of this intelligent, rigorously thoughtful, somewhat sly film is that it takes place in the space between the inexplicable (no explanation is possible) and the unexplained (enlightenment might be around the corner).
    • 73 Metascore
    • 70 Manohla Dargis
    The Vulture is a mess of prickly contradictions, only some of which seem intentional. His criminality, rage and perhaps his madness have been stoked by class resentment and Mr. Keaton, with his white-hot menace and narrowing eyes, makes him a memorably angry man, not a caricature.
    • 68 Metascore
    • 70 Manohla Dargis
    The film can be described as a character study or a fictionalized slice of terribly real life. Mostly, though, it is an inquiry into the mysteries of other people.
    • 66 Metascore
    • 70 Manohla Dargis
    Mr. Ridley’s ambitions and refusal to treat Hendrix as a solvable mystery are welcome, given how often biopics re-embalm their subjects. Here, a legend is born, and a man too.
    • 53 Metascore
    • 70 Manohla Dargis
    A testament to movie love at its most devout, cinematic spectacle at its most extreme, and kitsch as an act of aesthetic communion.
    • 39 Metascore
    • 70 Manohla Dargis
    The film is not a beautiful object or a memorable cultural one, and yet it charms, however awkwardly. Ms. Swank’s ardent sincerity and naked emotionalism dovetail nicely with Mr. LaGravenese’s melodramatic excesses.
    • 57 Metascore
    • 70 Manohla Dargis
    It would be something to see Mr. Bateman go authentically dark (perhaps not that dark), but it’s also enough just to watch him as he widens his eyes, furrows his brow and shows off his excellent timing.
    • 82 Metascore
    • 70 Manohla Dargis
    It's Zeta-Jones who keeps you watching from start to finish -- You'd have to go back to Joan Crawford in her hungry prime, in films like "Rain" and "The Women," to find another female film star who grabs hold of the screen with such ferocity.
    • tbd Metascore
    • 70 Manohla Dargis
    It is the sort of human-scale production that holds your attention with good acting, nice lighting and a screenplay that favors thought over action, thoughtful incident over full-blown episode.
    • 69 Metascore
    • 70 Manohla Dargis
    While Slither sometimes feels like a monster-mash, what makes it work is how nimbly it slaloms from yucks to yuks, slip-sliding from horror to comedy and back again on its gore-slicked foundation.
    • 70 Metascore
    • 70 Manohla Dargis
    To his credit, Mr. Hood's meditation on truth and reconciliation doesn't traffic in the cheap thrills of art-house exploitation, like "City of God"; he wrings tears with sincerity, not cynicism.
    • 59 Metascore
    • 70 Manohla Dargis
    While Celeste and Jesse is decidedly conventional in most respects, it's pretty swell as an exploration of a relationship between a man and a woman that's no longer predicated by mutual desire.
    • 76 Metascore
    • 70 Manohla Dargis
    Generally absorbing if sometimes fog-inducing.
    • 46 Metascore
    • 70 Manohla Dargis
    The movie is glorious pulp pastiche without the smirks, which is fitting given the author's ironic humanism.
    • 61 Metascore
    • 70 Manohla Dargis
    Mr. Damon’s performance helps keep the movie from sinking under the weight of its artfully constructed horrors.
    • 49 Metascore
    • 70 Manohla Dargis
    Hancock makes for one unexpectedly satisfying and kinky addition to Hollywood's superhero chronicles. Touching and odd, laden with genuine twists and grounded by three appealing lead performances.
    • 74 Metascore
    • 70 Manohla Dargis
    What Flame & Citron has are decent men taking down Nazis (always a crowd pleaser) and some appealing actors — notably Mr. Lindhardt, Mr. Mikkelsen and Christian Berkel as the head of the Copenhagen Gestapo.
    • 60 Metascore
    • 70 Manohla Dargis
    Mr. Alfredson directed the second movie as well, and his work is again essentially functional, limited to clumsy action sequences and television-ready conversations. He doesn't prettify the violence in either movie, which might be unintentional but makes them feel more honest than the first did.
    • 72 Metascore
    • 70 Manohla Dargis
    A tale about appearances in which not everything is as it seems, Easier With Practice tries to use phone sex as a way to explore contemporary alienation.
    • 60 Metascore
    • 70 Manohla Dargis
    If I could write sonnets, I would write one about Ms. Hahn, whose timing — she finds depths in that little pause before a joke crests — can turn laughs into howls.
    • 76 Metascore
    • 70 Manohla Dargis
    An elegant, elegiac found-footage work from Bill Morrison, best known for his silent-film reverie "Decasia."
    • 74 Metascore
    • 70 Manohla Dargis
    In crucial ways, Source Code, written by Ben Ripley, recalls "Moon," Mr. Jones's accomplished feature debut about a solitary astronaut played by Sam Rockwell. Source Code is bigger, shinier, pricier.
    • 66 Metascore
    • 70 Manohla Dargis
    He (director Mark Waters) keeps the story light and bright, and he brings out real comic performances from his cast, including newcomer Seyfried, who plays her ditz with Judy Holliday charm.
    • 74 Metascore
    • 70 Manohla Dargis
    The kind of quietly unassuming tear-jerker that works its way into your heart despite the occasional cries of protest emanating from your head.
    • 80 Metascore
    • 70 Manohla Dargis
    Stories of lost crowns lend themselves to drama, but not necessarily audience-pleasing entertainments, which may explain why Frost/Nixon registers as such a soothing, agreeably amusing experience, more palliative than purgative.
    • 70 Metascore
    • 70 Manohla Dargis
    Isn't in league with the Nicholas Ray classic ("Rebel Without a Cause"), but in its ferocious energy and lead performances it's many cuts above most big-screen soap operas.
    • 78 Metascore
    • 70 Manohla Dargis
    Few American filmmakers create female characters as realistically funny, attractively imperfect and flat-out annoying as does Ms. Holofcener, whose features include “Friends With Money” and “Lovely & Amazing.”
    • 71 Metascore
    • 70 Manohla Dargis
    Smith has created the raunchiest romantic comedy in recent American film, and one of the most good-natured.
    • 64 Metascore
    • 70 Manohla Dargis
    It's the same old bootstraps story, an American dream artfully told, skillfully sold. To that calculated end, the filmmaking is seamless, unadorned, transparent, the better to serve Mr. Smith's warm expressiveness.
    • 60 Metascore
    • 70 Manohla Dargis
    The visual choices in the movie, including all the close-ups of Gary’s face as it lightens and darkens, help create the sense that something deeply personal is at stake.
    • 67 Metascore
    • 70 Manohla Dargis
    It takes talent to make audiences care about ordinary people doing ordinary things, just as it takes guts to end a movie with something as corny as the sounds of children playing.
    • 64 Metascore
    • 70 Manohla Dargis
    An ode to the joy and sweet release of sex, the film manages to be a sincere, modest political venture that finds humor where you might least expect it, notably in a ménage à trois featuring a cheeky rendition of "The Star Spangled Banner."
    • 75 Metascore
    • 70 Manohla Dargis
    Sleek and bloated, specific and generic, “Rogue Nation” is pretty much like most of the “Impossible” movies in that it’s an immense machine that Mr. McQuarrie, after tinkering and oiling, has cranked up again and set humming with twists and turns, global trotting and gadgets, a crack supporting cast and a hard-working star.
    • 72 Metascore
    • 70 Manohla Dargis
    An enjoyable if somewhat neutered defender of the free world. Make no mistake: Hellboy still has a hide as hard-boiled as Lee Marvin in "The Dirty Dozen," but now he's also wearing a smile.
    • 55 Metascore
    • 70 Manohla Dargis
    This is, after all, a film in which no one leads life according to script -- but, then, that's also the reason it works.
    • 78 Metascore
    • 70 Manohla Dargis
    Too short by half, Lost Boys of Sudan affords frustratingly little by way of real analysis and history. But it does introduce us to two extraordinary young men whose faith in this country is almost as unbearably sad as their stories.
    • 76 Metascore
    • 70 Manohla Dargis
    Mr. Oldroyd boxes Katherine in his attractive visuals, imprisoning her as her male relatives do. Yet his intellectual distance also turns her into a specimen, a pinned butterfly turned taxidermy beast.
    • 68 Metascore
    • 70 Manohla Dargis
    Whether together or apart, Mr. Sand and Mr. Scully seemed to be operating on a similar wavelength, and the movie gets a lot of mileage from their sometimes excellent, at times hair-raising, occasionally puckishly funny and altogether wild adventures.
    • 49 Metascore
    • 70 Manohla Dargis
    Hughes visual choices can feel borrowed and clichéd, but his regard for beauty often compensates for his blunders, as does the sturdy, reliable appeal of another story of good and evil, men and women, light and dark, glass and steel, sex and power. As it turns out, there are eight million and one stories in the naked city.
    • 47 Metascore
    • 70 Manohla Dargis
    Brother is a solid return to gangster form for Kitano, who knows how to transcend the most overly familiar genre clichés without betraying the rules of engagement.
    • 64 Metascore
    • 70 Manohla Dargis
    A divertingly eccentric, often comically absurd movie.
    • tbd Metascore
    • 70 Manohla Dargis
    Mr. Brocka likes to go big and blunt, but in Insiang, he does his strongest work when he delivers his politics quietly.
    • 60 Metascore
    • 70 Manohla Dargis
    Blind Mountain is a reminder that art sometimes keeps the truth alive far better than the news.
    • 67 Metascore
    • 70 Manohla Dargis
    Alternately hilarious and alarming documentary.
    • 59 Metascore
    • 70 Manohla Dargis
    It’s a kick to see how effectively Ms. Phang has created the future on a shoestring even if she hasn’t yet figured out how to turn all her smart ideas into a fully realized feature.
    • 63 Metascore
    • 70 Manohla Dargis
    Sweet and slight and often charming coming-of-age tale.
    • 67 Metascore
    • 70 Manohla Dargis
    An icy-cool study of violence both mediated and horribly real.
    • 64 Metascore
    • 70 Manohla Dargis
    Straight-up ridiculous, but it's also consistently funny and nicely played by a well-complemented cast that finds its collective groove and never misses a beat.
    • 53 Metascore
    • 70 Manohla Dargis
    A pleasantly immersive, beautifully animated, occasionally sleepy tale.
    • 69 Metascore
    • 70 Manohla Dargis
    Mr. Hawke serves as both the narrator and the story’s ballast amid all the woo-woo interludes and disruptions, the puzzle piece you hold and worry about even as the scenery changes and identities shift.
    • 68 Metascore
    • 70 Manohla Dargis
    It’s a persuasive portrait of a monster-to-be, one etched in thrown tantrums and rocks, and heavily supported by an excellent cast that includes Robert Pattinson and Yolande Moreau as well as a driving score that occasionally threatens to upstage the movie.
    • 78 Metascore
    • 70 Manohla Dargis
    A fine and, on a scene-by-scene basis, often better than fine, if effectively unadventurous work.
    • 49 Metascore
    • 70 Manohla Dargis
    The comedy in Alfie is plentiful but bittersweet, and the character's bad behavior pleases more than it repels, principally because the star Jude Law's beauty and easy charm go a long way to softening the edges.
    • 76 Metascore
    • 70 Manohla Dargis
    Greatness hovers just outside American Gangster, knocking, angling to be let in.
    • 61 Metascore
    • 70 Manohla Dargis
    The spirit of the law will be upheld (this being Hollywood), but only after everyone has had plenty of nasty fun (this being Hollywood).
    • 77 Metascore
    • 70 Manohla Dargis
    The limitations of Calvary are summed up by the insistent, dialectical chatter that almost mechanically pings and pongs between lightness and darkness, glibness and seriousness, insincerity and honesty, faithfulness and despair.
    • 72 Metascore
    • 70 Manohla Dargis
    Mr. Ma paints a persuasively bleak scene that could use more psychological and philosophical nuance to go with its painstaking grimness.
    • 76 Metascore
    • 70 Manohla Dargis
    For all his genre-hopping and shape-shifting Spielberg seems to have become too big to tell small stories, which is one reason why the film sputters on one too many false endings.
    • 70 Metascore
    • 70 Manohla Dargis
    A fitfully funny comedy.
    • 69 Metascore
    • 70 Manohla Dargis
    Dizzily enjoyable documentary.
    • 79 Metascore
    • 70 Manohla Dargis
    Absorbing if unsettling documentary.
    • 58 Metascore
    • 70 Manohla Dargis
    While desperation and a critique lurk under all these garish surfaces, neither emerges because Ms. Biller, finally, adores this milieu too much to tear it apart.
    • 74 Metascore
    • 70 Manohla Dargis
    Scene for scene, Serenity is more engaging and certainly better written and acted than any of Mr. Lucas's recent screen entertainments.
    • 69 Metascore
    • 70 Manohla Dargis
    Although what ensues is generally unsurprising and as pro forma down-and-dirty as the genre dictates, it's also on occasion rather affecting.
    • 68 Metascore
    • 70 Manohla Dargis
    It's good, canny-dumb fun.
    • 48 Metascore
    • 70 Manohla Dargis
    Mr. Allen's invocation of the "Thin Man" films in an interview makes sense, even if he’s no William Powell and Ms. Johansson is certainly no Myrna Loy. Scoop was made by someone who understands that what makes the "Thin Man" series enduring isn't whodunit and why, but the way Nick and Nora look at each other as they sip their martinis, Asta nipping at their heels.
    • 60 Metascore
    • 70 Manohla Dargis
    It's the brilliance of The X-Files to have turned Mulder's paranoid style into a function of cool. Mulder and Scully aren't just beautiful, smart, well-armed and seemingly impervious to the banalities of everyday life, such as cheap haircuts and ruinous love affairs--they're cool.
    • 48 Metascore
    • 70 Manohla Dargis
    The Girl on the Train is a preposterous movie but not an unenjoyable one. If that sounds like faint praise, well, it is and it isn’t. There’s always something to be said for an entertainment that sustains its nuttiness all the way to its twisty finish.
    • 81 Metascore
    • 70 Manohla Dargis
    Loosely constructed, The World drifts along pleasantly for much of its two-and-a-half-hour running time. Mr. Jia has a terrific eye and an almost sculptural sense of film space (especially in close quarters), and he brings texture and density to even the most nondescript rooms.
    • 76 Metascore
    • 70 Manohla Dargis
    Horny is as horny does in the sweetly absurd high school comedy Superbad.
    • 69 Metascore
    • 70 Manohla Dargis
    The movie love can make it hard to hear the human pulse beneath the noise (it's there, if faint), much less see if there's anything new going on.
    • 57 Metascore
    • 70 Manohla Dargis
    A competently made, moderately diverting variation on a genre standard.
    • 67 Metascore
    • 70 Manohla Dargis
    Home is, as with so many family stories, also something of a disaster movie: the walls shudder and crack, and eventually so do the people inside them.
    • 81 Metascore
    • 70 Manohla Dargis
    Each time the movie edges into mannerism Mr. Harewood and Ms. Dickerson pull you close enough to make it hurt.
    • 82 Metascore
    • 70 Manohla Dargis
    Has an appealing surface beauty, largely due to the talented cinematographer Virginie Saint Martin, and an equally shallow mystery.
    • 69 Metascore
    • 70 Manohla Dargis
    Something wicked this way comes in the nifty horror film The Last Winter, crawling through the hallways and howling into the dread night.
    • 77 Metascore
    • 70 Manohla Dargis
    There’s an elemental, almost primitive quality to the Tavianis’ condensing that, at its most effective, dovetails with the prison’s severely circumscribed material reality, as if the high walls, barred windows and suffocating rooms were manifestations of the characters’ states of mind.
    • 61 Metascore
    • 70 Manohla Dargis
    Notes on Marie Menken shines a quavering if welcome ray of light on a largely forgotten figure in the American avant-garde film scene of the 1940s, ’50s and ’60s.
    • 48 Metascore
    • 70 Manohla Dargis
    My guess is that after years of being the trick pony, he wanted to see what it was like to be the ringmaster.
    • 54 Metascore
    • 70 Manohla Dargis
    A serious film filled with both great and awkward ideas and made as much from the heart as the head.
    • 70 Metascore
    • 70 Manohla Dargis
    A sun-scorched noir, Rampart tells a familiar story with such visual punch and hustling energy that it comes close to feeling like a new kind of movie, though it's more just a tough gloss on American crime stories past.
    • 66 Metascore
    • 70 Manohla Dargis
    It's impossible not to cry at their suffering, but whether you'll feel anything is another story.
    • 71 Metascore
    • 70 Manohla Dargis
    Glibly funny and eager to please.
    • 75 Metascore
    • 70 Manohla Dargis
    The film, which [Mr. Maloof] directed with Charlie Siskel, is absorbing, touching and satisfyingly enjoyable because Maier was a fascinating, poignant and somewhat enigmatic woman.
    • 61 Metascore
    • 70 Manohla Dargis
    But while the Pietà imagery startles, it makes increasing sense as the story builds around it. Because as Hideaway deepens and evolves, you understand that the image of Mousse cradling Louis is a manifestation of her love: this was how she held him, with a tender love that in its depth was itself holy.
    • 70 Metascore
    • 70 Manohla Dargis
    The film demands engagement and a kind of surrender, a willingness to enter into a work shaped by correlation, metaphor and metonymy, by beautiful images and fragments of ideas, a work that locates the music in the twitching of a dog’s ears, in the curve of a woman’s belly, a child’s song and an adult’s reverie.
    • 63 Metascore
    • 70 Manohla Dargis
    The results are about as naughty as that sounds (not very), but it also makes for a fairly giggling good time.
    • 60 Metascore
    • 70 Manohla Dargis
    The joy of this unassuming, generous film is that it never sells out its characters' desires or ours.
    • 64 Metascore
    • 70 Manohla Dargis
    This is, it’s worth remembering, a movie set in the American West that was shot in South Africa by a Danish director with a Danish star. In other words it’s another dream of America, feverish, lovely and absurd.
    • 67 Metascore
    • 70 Manohla Dargis
    A buoyantly funny, sometimes desperately sad film.
    • 74 Metascore
    • 70 Manohla Dargis
    Mr. Lindon’s physically reserved, inward turn as Thierry (wrinkled brow, downcast eyes) dovetails with Mr. Brizé’s restrained realism.
    • 63 Metascore
    • 70 Manohla Dargis
    The film is more funny ha-ha than LOL; it’s a smarty-pants satire that mocks and embraces almost every cliché in the biography playbook.
    • 66 Metascore
    • 70 Manohla Dargis
    Strangely entertaining.
    • 55 Metascore
    • 70 Manohla Dargis
    Has a slamming first hour. As Ian Wilson's camera darts over Charles Lee's spookily atmospheric sets, enigmas sprout like mushrooms.
    • 71 Metascore
    • 70 Manohla Dargis
    What follows is a sensationally entertaining escalation of frights, the kind that make you wiggle and squirm as you alternately laugh at your own gullibility and marvel at the filmmaker's cunning and craft.
    • 77 Metascore
    • 70 Manohla Dargis
    An agreeable if slight, vaguely sketched character study times two.
    • 73 Metascore
    • 70 Manohla Dargis
    Only ends up skimming the surface. But even the skimming is largely interesting and thought-provoking, and of course very bleak.
    • 78 Metascore
    • 70 Manohla Dargis
    The French director Bertrand Tavernier deploys some smart ideas in this film, a period story about wars on the battlefield and those closer to home, but there's something a bit goatish in his attention to some female charms.
    • 63 Metascore
    • 70 Manohla Dargis
    Indirection can be a beautiful tool in comedy and so it is in “Hello, My Name Is Doris,” which uses this funny, outwardly ridiculous character to tell a simple story about a love that rarely speaks its name, including in movies: that of an older woman for a much younger man.
    • 69 Metascore
    • 70 Manohla Dargis
    A rare bird indeed -- a disarming, appealingly modest discovery, beautifully shot, nicely performed. Perched on the knife's edge of absurdity, the story at once embraces the large questions (who is the enemy and why) and shrugs them off with a laugh.
    • 77 Metascore
    • 70 Manohla Dargis
    What keeps the movie from tipping into full-blown exploitation like "City of God," which turns third-world misery into art-house thrills, is Mr. Fukunaga's sincerity. What keeps you watching is his superb eye.
    • 54 Metascore
    • 70 Manohla Dargis
    Cymbeline has been branded a tragedy, a tragicomedy and a romance, and Mr. Almereyda embraces all three categories. The movie is by turns grim, grimly amusing and romantic, sometimes at once.
    • 86 Metascore
    • 70 Manohla Dargis
    More information and in-depth analysis, as well as greater restraint in the use of atrocity images, might have deepened a movie that leans on shortcuts and visual shocks.
    • 49 Metascore
    • 70 Manohla Dargis
    Mr. Kwanten, meanwhile, best known for playing the sweet, dim Jason Stackhouse on the HBO show "True Blood," gives Griff the delicate, ethereal affect of a man who's an alien in his own world except when he's running down an alley in a disguise. He's a pleasure to watch.
    • 66 Metascore
    • 70 Manohla Dargis
    A likable, lightly sticky valentine to childhood, the 1980s and the dawning of movie love, Son of Rambow was written and directed by Garth Jennings and produced by Nick Goldsmith, the duo behind the underappreciated fantasy "The Hitchhiker's Guide to the Galaxy."
    • 71 Metascore
    • 70 Manohla Dargis
    The results are charming if rarely thrilling, with outstanding performances from Joan Allen and William H. Macy.
    • 61 Metascore
    • 70 Manohla Dargis
    The French filmmaker Simone Bitton takes a measured look at the barrier in her documentary Wall, a film that considers hard-core political realities alongside agonizing personal truths.
    • 74 Metascore
    • 70 Manohla Dargis
    [Mr. Resler] turns out to be not only the heart of this particular game, but also its brains, lungs and unforgettably endearing mug.
    • 56 Metascore
    • 70 Manohla Dargis
    Despite its A-movie aspirations, as the chases continue and the plot holes widen, Unknown quickly settles into the familiar B-movie comfort zone.
    • 64 Metascore
    • 70 Manohla Dargis
    Mr. Rahimi opens up an entire world inside the couple’s modest house, filling its few rooms with enough air, sharp words and slow-boiling intrigue that the walls never feel as if they’re closing in on you.
    • 83 Metascore
    • 70 Manohla Dargis
    Election is finally, necessarily, as much about sex as it is about politics -- wanting it, getting it, losing it.
    • 60 Metascore
    • 70 Manohla Dargis
    A charming, uncritical, often entertaining jumble, the documentary was written and directed by Leslie Zemeckis.
    • 69 Metascore
    • 70 Manohla Dargis
    The tussling between Elinor and Merida is familiar, but while the mother-daughter clashes may make the story "relatable," they drain it of its mythopoetic potential, turning what could have been a cool postmodern fairy tale into another family melodrama.
    • 44 Metascore
    • 70 Manohla Dargis
    At first luxurious blush it’s a jet-setting marital melodrama, one of those he-said, she-said (and wept) encounter sessions decked with designer shades, to-die-for digs and millionaire tears. More interestingly, the movie, which Ms. Jolie Pitt wrote and directed, is a knowing or at least a ticklishly amusing demonstration of celebrity and its relay of gazes from one of the most looked-at women in the world.
    • 57 Metascore
    • 70 Manohla Dargis
    For his atmospheric debut as a feature director, the actor Matt Dillon has cast himself as a guy in need of saving. It's a nice fit.
    • 65 Metascore
    • 70 Manohla Dargis
    Grotesquely violent, horribly funny.
    • 70 Metascore
    • 70 Manohla Dargis
    Mr. Matthiesen has a way of consistently and gently upending expectations, sometimes with humor.
    • 81 Metascore
    • 70 Manohla Dargis
    Even as Ms. Amirpour draws heavily from various bodies of work with vampirelike hunger, she gives her influences new life by channeling them through other cultural forms, including her chador-cloaked vampire.
    • 58 Metascore
    • 70 Manohla Dargis
    A delicately funny tale about everyday surrealism.
    • 59 Metascore
    • 70 Manohla Dargis
    Better than the usual three-stage journey of courage, heartbreak and redemption. In this case, the triumph of the human spirit comes with a small bitter chaser.
    • 64 Metascore
    • 70 Manohla Dargis
    Mr. Maggio's strengths here are his people (not their stories), a sense of intimacy and textured place rather than the generic hoops he forces the characters to jump through.
    • 53 Metascore
    • 70 Manohla Dargis
    This maximalist approach can tax the nerves, though it has the benefit of keeping you on alert. It’s also pretty enjoyable. Mr. Fuqua, who happens to be surprisingly good with actors, does have a knack for chaos.
    • 66 Metascore
    • 70 Manohla Dargis
    Ms. Moretz is by far the best thing about the film: she holds the screen as gracefully as she executes a running back flip.
    • 65 Metascore
    • 70 Manohla Dargis
    Stick with the movie for its leads, Sally Hawkins and Ethan Hawke, a beautifully matched pair who open up two closed people, unleashing torrents of feeling.
    • 65 Metascore
    • 70 Manohla Dargis
    With its spy-on-spy globetrotting, old-fashioned villains, flirty but prematurely swinging minis and fan-boy bits (look for an eye-blink-fast tribute to "Basic Instinct" and a cameo from the cult actor Michael Ironside), the whole enterprise has an agreeable lightness, no small thing, given its rapidly moving parts.
    • 69 Metascore
    • 70 Manohla Dargis
    Bruce Willis is ready to earn our love again by performing the same lovably violent, meathead tricks as before.
    • 73 Metascore
    • 70 Manohla Dargis
    Central to the last film's success are Manise and Blanc, who invest the story with intensity unmatched since Belvaux stormed through the first feature.
    • 67 Metascore
    • 70 Manohla Dargis
    Although there's more romance in "Buck," a classic American survivor story in the triumphant individual vein, in Pianomania the very dry, very accomplished Mr. Knüpfer makes engaging company both because he keeps enviable company and because he's a full-on geek, though one possessed by pianos.
    • 55 Metascore
    • 70 Manohla Dargis
    Mr. Kormakur sets and keeps up a fast rather than frantic pace that never runs the movie off the rails even when the story nearly does.
    • 58 Metascore
    • 70 Manohla Dargis
    It doesn’t aspire to art-house significance, just to white-knuckled entertainment.
    • 70 Metascore
    • 70 Manohla Dargis
    Mr. Jayasundara studied film in France and has probably watched his share of classic European art cinema. Although his influences may originate closer to home (in interviews he has name dropped the venerated Sri Lankan auteur Lester James Peries), his use of landscape to convey states of mind suggests that he has more than a passing acquaintance with the work of Michelangelo Antonioni.
    • 63 Metascore
    • 70 Manohla Dargis
    The irony is, it's his vulgarity, this mixture of the gaudy and the glossy, that distinguishes Lyne, that makes his work identifiable and, when the story's right, such a guilty pleasure.
    • 78 Metascore
    • 70 Manohla Dargis
    Uplifting, disheartening, inspiring, enraging -- the mind reels while watching the documentary Pray the Devil Back to Hell, even as the eyes water, the temples pound and the body trembles.
    • 66 Metascore
    • 70 Manohla Dargis
    In Good Company lacks both the emotional sting and the bright pop-culture snap of "About a Boy," as well as Mr. Hornby's carefully cultivated irony, but it makes for an agreeable solo directing debut.
    • 78 Metascore
    • 70 Manohla Dargis
    Hooligan Sparrow, which Ms. Wang also shot and skillfully edited, has the pulse of a mainstream thriller but without the pacifying polish and tidiness.
    • 52 Metascore
    • 70 Manohla Dargis
    There’s not much new under the moon here, which makes what the writer and director Richard LaGravenese does with the story all the more notable.
    • 71 Metascore
    • 70 Manohla Dargis
    Nannerl, the subject of at least three novels also titled "Mozart's Sister," is in this film meant to be something more than a chapter in her brother's biography though it's not exactly clear what. Somewhat frustratingly if reasonably, Mr. Féret never settles on whether she was a genius, a martyr, a feminist cause, a disappointed daughter, a resigned woman or all of the above.
    • 61 Metascore
    • 70 Manohla Dargis
    Buoyed by Ms. Johansson’s presence, Mr. Besson keeps his entertainment machine purring. He may be a hack, but he’s also a reliable entertainer.
    • 57 Metascore
    • 70 Manohla Dargis
    There’s something irresistible about watching two people fall in love, even in contrived, sniffle- and sometimes gag-inducing films like Last Chance Harvey.
    • 60 Metascore
    • 70 Manohla Dargis
    The director Yan-Ting Yuen revisits the country's recent past to explore the history and legacy of one of the strangest byproducts of totalitarian madness: the revolutionary spectacular.
    • 64 Metascore
    • 70 Manohla Dargis
    In Freedom Writers Hilary Swank uses neediness to fine effect in a film with a strong emotional tug and smartly laid foundation.
    • 76 Metascore
    • 70 Manohla Dargis
    This isn’t, it turns out, the usual once upon a time, but a story about the unknowns that can swallow us up.
    • 77 Metascore
    • 70 Manohla Dargis
    What cuts through the filmmaking clutter are the young women and men who share their accounts of abuse by both their attackers and their schools.
    • 74 Metascore
    • 70 Manohla Dargis
    Sin City has been made with such scrupulous care and obvious love for its genre influences that it's a shame the movie is kind of a bore.
    • 71 Metascore
    • 70 Manohla Dargis
    The film effectively conveys the fears and frustrations of Palestinians struggling in a country that treats them as the enemy.
    • 70 Metascore
    • 70 Manohla Dargis
    A big, provocative and -- it goes without saying -- disturbing work, though what makes it most provocative is that its greatest ambitions are for its own visual style.
    • 57 Metascore
    • 70 Manohla Dargis
    Nasty, brutal and unforgiving, A Walk Among the Tombstones is one of those rare contemporary cinematic offerings: intelligent pulp.
    • 63 Metascore
    • 70 Manohla Dargis
    A screenplay that not only has a way with genre cliché, but manages to score some deviously witty political points
    • 65 Metascore
    • 70 Manohla Dargis
    There's nothing obscure about young love and loss, and a story, as Mr. Jiménez put it, about "youngsters who have to deal with this sudden lack of certainties which makes them more lonely than they could have ever imagined."
    • 70 Metascore
    • 70 Manohla Dargis
    Although Vicky Cristina trips along winningly, carried by the beauty of its locations and stars -- and all the gauzy romanticism those enchanted places and people imply -- it reverberates with implacable melancholy, a sense of loss.
    • 67 Metascore
    • 70 Manohla Dargis
    This paranoid thriller has all the failings we expect...but Enemy of the State also has enough wit, talent and narrative thrust to mostly transcend those flaws, at least until that ludicrous finish.
    • 67 Metascore
    • 70 Manohla Dargis
    Extremely likable and has value as a historical document specifically because it includes snippets from a dozen later-life interviews with Photo League members like Rosalie Gwathmey and Mr. Engel.
    • 79 Metascore
    • 70 Manohla Dargis
    Mr. Kerrigan isn't just playing with our sympathies; he's also playing with our assumptions. That keeps the tension going.
    • 58 Metascore
    • 70 Manohla Dargis
    Stuffed with playful character actors and carpeted with wall-to-wall tunes, the film makes for easy viewing and easier listening.
    • 76 Metascore
    • 70 Manohla Dargis
    Catching Fire isn’t a great work of art but it’s a competent, at times exciting movie and it does something that better, more artistically notable movies often fail to do: It speaks to its moment in time.
    • 87 Metascore
    • 70 Manohla Dargis
    While its subject means that "Listen to Me” is easy to like, Mr. Riley’s shaping of Brando’s words can make the movie, every so often, difficult to fully embrace.
    • 48 Metascore
    • 70 Manohla Dargis
    This genial comedy is as unambitious and, at times, as funny as its high concept.
    • 59 Metascore
    • 70 Manohla Dargis
    Schadenfreude carries a delectable tang no matter the language, and as the history of Hollywood shows, stories about pretty people behaving badly remain reliably alluring.
    • 76 Metascore
    • 70 Manohla Dargis
    A small movie with a full heart, Undertow takes an old idea - the loving, lingering ghost - and gives it reverberant, resuscitated life.
    • 65 Metascore
    • 70 Manohla Dargis
    The overall effect is part BBC-style biography, part Hollywood-like hagiography, and generally pleasing and often moving, even when the story wobbles off the historical rails or becomes bogged down in dopey romance.
    • 64 Metascore
    • 70 Manohla Dargis
    Despite the filmmakers’ efforts to persuade us that The Young Victoria is a serious work, and despite some tense moments and gunfire, the movie’s pleasures are as light as its story. No matter. Albert may never rip Victoria’s bodice, but he does eventually loosen it, to her delight and ours.
    • 78 Metascore
    • 70 Manohla Dargis
    Guest begins -- but doesn't end -- with caricatures, then peels away at our preconceptions until we see the heart and soul beneath.
    • 52 Metascore
    • 70 Manohla Dargis
    Essentially and very effectively a rollicking smash-and-crash chase movie that happens to be surprisingly well acted.
    • 70 Metascore
    • 70 Manohla Dargis
    This veteran Spanish director has, in his latest, created both a tribute to an art form and a performance archive.
    • 40 Metascore
    • 70 Manohla Dargis
    This is the kind of cornball entertainment that rainy afternoons were made for. Throw in a cozy sofa too. Beastly will size down well on your television.
    • 69 Metascore
    • 70 Manohla Dargis
    Part of the ticklish enjoyment in The Monster is how the director, Bryan Bertino (“The Strangers”), plays with genre registers and how, after opening with disquieting stillness and an isolated child, he slowly yet surely turns up the shrieks.
    • 88 Metascore
    • 70 Manohla Dargis
    If the second film never reaches the highs of the first -- we have met the players before and there are no new worlds of wonder -- it nonetheless invests moviegoing with a sense of adventure.
    • 72 Metascore
    • 70 Manohla Dargis
    Tiny Furniture is at times more pleasurable to think about than it is to watch, more of a conceptual coup than an enjoyable experience.
    • 68 Metascore
    • 70 Manohla Dargis
    Those swayed by the argument in Client 9 that some of the rich and powerful whom Mr. Spitzer crusaded against might have exploited his stupidity should find all this enthralling. Others might just remember the hubris.
    • 79 Metascore
    • 70 Manohla Dargis
    Measured in tone and outraged in its argument, it is an emotionally stirring, at times crushingly depressing cinematic call to witness. It's also frustrating because while it re-examines the assault on the jogger and painstakingly walks you through what happened to the teenagers - from their arrest through their absolution - it fails to add anything substantively new.
    • 75 Metascore
    • 70 Manohla Dargis
    An often electric, bracingly urgent documentary.
    • 62 Metascore
    • 70 Manohla Dargis
    It's possible that two actors other than Samantha Morton and Jason Patric might do justice to Cecilia Miniucchi's story about two badly matched Santa Monica, Calif., parking enforcement officers who stumble and grope into a relationship. But it's hard to think of a better match for the stubborn idiosyncrasies of Ms. Miniucchi's visual style and worldview than these two.
    • 35 Metascore
    • 70 Manohla Dargis
    Graced with a shimmering visual style and sense of lyrical self-consciousness that owes a debt to French visionary Jean Cocteau, the modest film provides further evidence of Mexico's recent cinematic renaissance.
    • 82 Metascore
    • 70 Manohla Dargis
    The film's septuagenarian director deserves his share of the credit for bringing this human story to the screen with engaging B-movie modesty and no small measure of chops.
    • 69 Metascore
    • 70 Manohla Dargis
    It's the kind of outrageous, excessive flourish that can make Mr. Scott's work so enjoyable in the moment. He doesn't do much, but with a handful of appealing actors in tow, he sure keeps that machine going.
    • The New York Times
    • 84 Metascore
    • 70 Manohla Dargis
    Mr. Johnson throws a lot at the screen, blasted corpses included, yet little here is as initially transfixing as Mr. Gordon-Levitt's mug.
    • 66 Metascore
    • 70 Manohla Dargis
    It’s an extremely well-lubricated entertainment machine filled with attractive images and wall-to-wall appealing performances.
    • 65 Metascore
    • 70 Manohla Dargis
    Crammed with friendly, sympathetic talking heads and pretty images of a stunned-looking Mr. Bruce, then 35, relearning life (he remembers how to walk but forgot family and friends), the film comes up frustratingly short when it comes to the particulars.
    • 82 Metascore
    • 70 Manohla Dargis
    Even as the gathering melodramatic storms threaten to swamp this pungent slice of life, Mr. Cretton manages to earn your tears honestly.
    • 55 Metascore
    • 70 Manohla Dargis
    For long stretches, The D Train serves as a commodious vehicle for Mr. Black, who, like the best comic performers, never seems remotely concerned about going too big or risking the audience’s love. He’s a showboat if every so often, more of a steamroller, capable of flattening everyone and everything in his way. Yet he is also adept at conveying emotional and psychological fragility.
    • 64 Metascore
    • 70 Manohla Dargis
    The film is good news nonetheless - it's a store-bought valentine with real heart.
    • 77 Metascore
    • 70 Manohla Dargis
    Mr. Szifron creates inhabited worlds with comic timing and visual flair, but you can hear him chortling as he shovels his people into the grinder.
    • 56 Metascore
    • 70 Manohla Dargis
    The good news is that the minions are more (unconsciously, if perhaps also strategically) in touch with their anarchic side than the typical onesie-wearing crusader, which suits the directors Pierre Coffin and Kyle Balda’s well-tuned sense of the absurd.
    • 43 Metascore
    • 70 Manohla Dargis
    In this film Mr. Coppola blurs dreams and everyday life and suggests that through visual and narrative experimentation he has begun the search for new ways of making meaning, new holy places for him and for us. He may not have found them yet, but, then, he’s just waking up.
    • 69 Metascore
    • 70 Manohla Dargis
    it can be a strategically off-putting movie yet one that also steals under your skin scene by scene and through Ms. Schnoeink’s slowly revealing performance as an ill-fated heroine turned future biographical footnote.
    • 55 Metascore
    • 70 Manohla Dargis
    Taken on the level of spectacle rather than of sense, The Last Samurai affords the sort of fizzy enjoyment that can come with epic movie endeavors, including a meticulously detailed world unlike our own, an excellent supporting cast and some pulse-pounding fights.
    • 67 Metascore
    • 70 Manohla Dargis
    A smart, effectively unsettling movie about the need to believe and the hard, cruel arts of persuasion.
    • 57 Metascore
    • 70 Manohla Dargis
    Although Mr. Pawlikowski often shows Mr. Hawke in medium and long shots, the actor draws you close. There's anguish in Tom's face that speaks of a terrible fragility and that leavens the story's mysterioso proceedings with a real, recognizable humanity.
    • 76 Metascore
    • 70 Manohla Dargis
    A portrait of the artist as a refusenik, a recluse, a survivor and a stubborn question mark, “Fifi Howls From Happiness” registers, by turns, as a celebration, an excavation and an increasingly urgent rescue mission.
    • 77 Metascore
    • 70 Manohla Dargis
    While compromised by the uplift and affirmation that mainstream animation regurgitates like a mommy penguin, it also shows a remarkable persistence of vision. Even in a story about singing-and-dancing fat and feather, Mr. Miller can’t help but go dark and deep.
    • 56 Metascore
    • 70 Manohla Dargis
    Working again with Diego Martínez Vignatti, the cinematographer for "Japón," the director doesn't just seize our attention; he commands it - forcing us into a world of terror and beauty.
    • 71 Metascore
    • 70 Manohla Dargis
    In Edge of Tomorrow, Mr. Liman brings Mr. Cruise’s smile out of semiretirement and also gives him the kind of physical challenges at which he so brilliantly excels.
    • 64 Metascore
    • 70 Manohla Dargis
    The script for Mockingjay Part 1, credited to Peter Craig and Danny Strong, gets the job done, but the performers matter far more than the words they deliver.
    • 49 Metascore
    • 70 Manohla Dargis
    Woody Allen’s latest excursion to the dark side of human nature, is good enough that you may wonder why he doesn’t just stop making comedies once and for all.
    • 52 Metascore
    • 70 Manohla Dargis
    Hit So Hard is the touching story of how and why Ms. Schemel ended up in her own private hell and how and why she made her way out again into the world of sunshine, sobriety and puppy dogs.
    • 74 Metascore
    • 70 Manohla Dargis
    Camus sets the movie’s initial course, but Mr. Oelhoffen resolutely steers it home with political context, historical hindsight, an unambiguous moral imperative and a pair of well-matched performances; put another way, he makes the story his own.
    • 57 Metascore
    • 60 Manohla Dargis
    An entertainingly ridiculous update of Mary O’Hara’s 1941 children’s novel, “My Friend Flicka.”
    • 68 Metascore
    • 60 Manohla Dargis
    Ms. Myers too often tells rather than shows, and she doesn’t have the cinematic skill set to transform her idea into a fully satisfying movie, especially at this low-budget level.
    • 67 Metascore
    • 60 Manohla Dargis
    Filled with brilliant filmmaking and features outstanding performances, but it's neither profound enough nor pop enough to be great -- it's mournful, serious, beautiful and, finally, pointless.
    • 56 Metascore
    • 60 Manohla Dargis
    No matter how seriously everyone works to make the CIA impossibly sexy, the illusion that these pencil pushers are incarnations of Bond, James Bond, is difficult to sustain.
    • 65 Metascore
    • 60 Manohla Dargis
    Mr. Broomfield maintains a level of cool detachment throughout. That's to the good of the movie, which, though technically exemplary, falters dramatically on occasion, becoming dangerously close to overheated whenever the characters speak for any length.
    • 67 Metascore
    • 60 Manohla Dargis
    Mr. Bateman’s direction of the actors is especially sensitive in this and other tricky scenes, showing a delicacy with emotional textures that isn’t always matched by the story, especially when Annie and Baxter speak in therapeutic clichés.
    • 68 Metascore
    • 60 Manohla Dargis
    It's good -- when it's not adrift in an absence of meaning.
    • 58 Metascore
    • 60 Manohla Dargis
    Best appreciated for its sustained creepy vibe and sporadically arresting images, Heartless moves from one outré moment to another, from one self-conscious allusion to the next ("Donnie Darko" and "Taxi Driver"). It doesn't go anywhere special or much of anywhere, though it goes there in appreciably icky style.
    • 66 Metascore
    • 60 Manohla Dargis
    Unforgivable isn't one of Mr. Téchiné's greatest achievements, but it's engrossing even when its increasingly populated story falters, tripped up by unpersuasive actions, connections and details.
    • 74 Metascore
    • 60 Manohla Dargis
    Cyrus is more finely tuned than their earlier movies ("The Puffy Chair," "Baghead"), but it shares a similar, almost aggressive lack of ambition. John doesn't work hard and neither do the Duplasses, who don't want their audiences to break a sweat either. That's too bad, because Cyrus is more interesting and fun when you're recoiling at the effrontery of its comedy and not its conventionality.
    • 52 Metascore
    • 60 Manohla Dargis
    Despite the slow start Mr. Condon closes the series in fine, smooth style. He gives fans all the lovely flowers, conditioned hair and lightly erotic, dreamy kisses they deserve.
    • 74 Metascore
    • 60 Manohla Dargis
    At once a heartfelt story about a family undone by violence and an overburdened allegory of fascism.
    • 66 Metascore
    • 60 Manohla Dargis
    Mr. Webb's Spider-Man movie works only because he keeps the whole package, at least until the requisite final blowout, tethered to his two appealing leads.
    • 71 Metascore
    • 60 Manohla Dargis
    Animal people sometimes say the wackiest things, but here, alas, they never satisfyingly address the ethical questions of what it means to capture and keep wild animals. Happily, while this movie's head may not always be in the right place, its heart is.
    • 59 Metascore
    • 60 Manohla Dargis
    The movie isn’t especially well made, yet because Tucker is such a gloriously rich figure — immigrant turned runaway mother turned vaudevillian turned superstar — she renders its formal and aesthetic shortcomings (mostly) irrelevant.
    • 69 Metascore
    • 60 Manohla Dargis
    Although Ms. Davenport pushes the analogy between this modest rescue operation with America’s invasion of Iraq a bit too forcefully, she nonetheless makes her point with persuasive, touching candor.
    • 66 Metascore
    • 60 Manohla Dargis
    [Proyas] hasn't yet learned how to enliven his characters as fully as his sets. Part of this is structural (somnolence is built into the script), but the greater fault lies with Proyas' direction of his performers, most of whom deliver their lines in a strangulated whisper.
    • 48 Metascore
    • 60 Manohla Dargis
    Ms. Lemmons has a tough time finding her tone. From scene to scene, the actors are good and then less so, while the direction wavers from assured to unsteady.
    • 73 Metascore
    • 60 Manohla Dargis
    There are not one, but two wars raging inside this adaptation: one between the North and the South, and another, more calamitous war between art and middlebrow entertainment.
    • 54 Metascore
    • 60 Manohla Dargis
    The new movie is as moth-eaten as the serapes strewn through the 1960 film, but there’s no denying the appeal of the image of Mr. Washington riding a horse, shooting a Colt and leading a posse of vigilantes to save a mostly white Western town.
    • 40 Metascore
    • 60 Manohla Dargis
    The movie is as blunt an instrument as the poster, but it’s also crammed with enough moving parts and unexpected distractions (Winona Ryder as a “meth whore”) to make it an indefensibly enjoyable piece of exploitation hackwork.
    • 65 Metascore
    • 60 Manohla Dargis
    In the end there might not be much to this tale other than titillation, but there's plenty to be said for Ms. Ronan, who was the best thing about "Atonement" and holds her ground against forceful screen presences like Ms. Blanchett and Mr. Bana.
    • 53 Metascore
    • 60 Manohla Dargis
    The horror of where rationalism can lead (the death camps, for one) hangs over Irrational Man and helps hold you as does Mr. Phoenix, even with some bad writing and Mr. Allen’s narrative laxity and lack of interest in how real people live.
    • 56 Metascore
    • 60 Manohla Dargis
    Nicely directed, the film version proves refreshingly free of the customary blights that affect most modern children's movies, notably adult condescension. But, man, is it mean.
    • 71 Metascore
    • 60 Manohla Dargis
    Watching this reasonably funny, professionally assembled calculation is a little like snuggling up in front of the television with a mug of hot cocoa and a warm blanket. Those who prefer their drinks and recreation spiked would do well to look elsewhere.
    • 41 Metascore
    • 60 Manohla Dargis
    A nondramatic work best appreciated as a pure image-and-sound event.
    • 61 Metascore
    • 60 Manohla Dargis
    Neither the screenplay nor the direction has the requisite depth to turn the banality of one unremarkable life into the stuff of Chekhov, much less of Mr. Payne.
    • 58 Metascore
    • 60 Manohla Dargis
    There's so much that's right in it that its blunders are all the more frustrating.
    • 53 Metascore
    • 60 Manohla Dargis
    The tick tick tock of the mortal clock gives the science-fiction thriller In Time its slick, sweet premise.
    • 60 Metascore
    • 60 Manohla Dargis
    A dreamy, elliptical neo-noir about a cop turned killer turned something else altogether.
    • 66 Metascore
    • 60 Manohla Dargis
    There are, once again, too many busy, uninterestingly staged battles that lean heavily on obvious, sometimes distracting digital sorcery. But there are also pacific, brooding interludes in which the actors — notably Mr. Freeman, an intensely appealing screen presence — remind you that there’s more to Middle-earth than clamor and struggle.
    • 52 Metascore
    • 60 Manohla Dargis
    Con Air is entertaining in an extravagantly decadent sort of way. It just isn't a movie.
    • 48 Metascore
    • 60 Manohla Dargis
    Mr. Basset is too enamored of the usual action film clichés, down to some Hollywood-gangsta gun play. But he has a graphic visual style that suits the simplistic material and he keeps you watching even as the wet, sucking sounds of skewered flesh grow tedious.
    • 65 Metascore
    • 60 Manohla Dargis
    There's plenty of frantic energy here, lots of noise and money too, but what's absent is any sense of rediscovery, the kind that's necessary whenever a filmmaker dusts off an old formula or a genre standard.
    • 51 Metascore
    • 60 Manohla Dargis
    Neither an atrocity nor a revelation, The Brown Bunny is a very watchable, often beautiful-looking attempt by Mr. Gallo to reproduce the kind of loosely structured mood pieces that found American and select foreign-language cinemas of the 1960's and 70's often at their most adventurous.
    • 77 Metascore
    • 60 Manohla Dargis
    Visually sumptuous if disappointingly hollow account of Hughes's early life.

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