It's not much, but adult audiences starved for mature entertainment should be counted on to investigate this flawed, if admittedly heartfelt, work.

A true crime tale with added layers of intrigue and atmosphere.

The blistering tunes and unique animation compensate for the rather unconvincing central love story that works best as a Forrest Gump-ian device to highlight some legendary real-life musicians.

Blend of sardonic humor and bitter poetry.

In Darkness takes its place among the many great European films to tackle the subject. Plenty of quality-seeking adult moviegoers will be lured to the arthouse and thoroughly moved.

Those unfamiliar with the Duplass' previous movies won't realize what's missing; they'll just enjoy the earthy angst, edgy laughs and off-kilter casting of Jonah Hill.

Fans of the 66-year-old guitar god (which is to say the only people who'll see this homespun gem) will revel in Young's winsome cruise down Memory Lane.

The key selling point is Bayona's ten-minute reenactment of the tidal wave and its carnage, which is brutal, visceral and without peer. His visual mastery is almost enough to make up for The Impossible's conventional final hour and the empty feeling of trying to find the point of this whole exercise.

It's a stirring mix of sports and human drama that exudes an almost earthy sense of genuineness.

Alcoholic movie characters run the gamut from lovable millionaire (Arthur) to Skid Row bum (Henry Chinaski from Barfly) to all-out, suicidal depressive (Ben from Leaving Las Vegas). As written and performed, Winstead's Kate triangulates between all these approaches and finds a sincerity that plays to the intellect, not to the rafters.

The movie is really best enjoyed as a fun little addendum to a profanity-laden chapter in New Media history.

To say the movie is understated is an understatement, yet it’s justified.

With the nation’s unemployment rate hovering around 10% and home foreclosure numbers stubbornly high, Michael Palmieri and Donal Mosher’s haunting documentary of multigenerational troubles is either a case of great timing or, possibly, the worst timing ever.

The film’s warmth and heart comes from introducing us to someone born to do exactly what she’s doing.

It's a well structured, sometimes riveting piece of information gathering that proves once again that Corrie's death was unnecessary and that closure has remained intriguingly, maddeningly, sadly elusive.

Killing Them Softly tries hard - and succeeds - to be a film of the now with its political parallels right in front of us. Yet it's also an invisible companion to the dirty business at hand - and it is a business.

More than just a jocular account of a musical comedy revue, Conan O'Brien Can't Stop is a snapshot of a unique man's psyche at a very peculiar moment.

For the most part, Olliver and Orshoski are smart enough to allow Lemmy's unique personality to come to them, as opposed to pushing a case for it.

For fans, this is exactly how the story of Jean Valjean's transformation from thief to saint should be delivered: smothered in bombast.

One of Hot Tub Time Machine’s only genuinely nifty moves is getting John Cusack, Dobler himself, to topline the film.

No one is expected to take any of this seriously, so Schwentke keeps things light: light on big laughs, light on unique action set pieces and light on any sense that these game but retired spies are too old for this crap.

Watching even the most tossed-off gag is worth whatever shortcomings Make Believe has, including its lack of real drama.

Where Rubber veers off the road is that for all its giggly moments and meta-whatever, it's never quite funny enough or scary enough.

Having spent multiple summers in Kashmir as a child, he (Tapa) knows what the average Kashmiri wants and the difficulties they encounter trying to get it. It's what makes Zero Bridge a winning example of modesty in front of the camera and intelligence behind it.

The original Jonathan Ames novel from 1998 is a rich, funny and unusual work. The movie opts for the funny and unusual, leaving us with characters ill-equipped to rise above their shtick or engage our sympathy.

The movie version has the exciting and challenging parts down but the moral awakening it so strenuously wants us to experience remains beyond its reach.

Hugh Hefner has earned the gift of a fawning, non-confrontational greatest hits package and that's exactly what he's received, even if it's not what we necessarily wanted. As such, this will only preach to the converted (and maybe the perverted) and is best suited to DVD or cable.

In his densely constructed and pretty damn brilliant film The Juche Idea, Finn takes aim at North Korean president Kim Jong-il's theories on cinema and how its ultimate purpose is to advance political ideology and party loyalty.