The film's darkly bedazzled view of the '70s is spurred by great dish from André Leon Talley, Liza Minnelli, and Nile Rodgers, who set the stage for Halston's triumphs - and his jaw-dropping fall.

The most original and excitingly executed wow-factor-meets-handheld-video feature since "Blair Witch" itself. It's also a movie that rebuilds the power of special effects from the ground up.

The film is sketchy as biography, but it proves an aging artist can still crackle with the electricity of youth.

All three of the leads get very close to the Stooges' old looks and personalities, but they do more than impersonate; they inhabit.

Marley was directed by the gifted Kevin Macdonald (The Last King of Scotland), who shows off his chops not by doing anything dazzling - the film is documentary prose, not poetry - but by treating Marley as a man of depth and nuance, of inner light and shadow.

We're given an intimate seat to this wildly democratic - and creepily messianic - spectacle.

The movie is Mike's story, and Channing Tatum proves himself a true movie star. His Mike glides through the world with the ease of a god, and on stage he's electrifying.

Part of Me works hard to prove it's more than a glorified infomercial, and one reason it is more is that Perry has a startling story to tell.

The documentary equivalent of a page-turner.

I will say that it's been a while since a romantic comedy mustered this much charm by looking this much like life.

Perhaps the best thing about the film is that it doesn't let those other players in the political process off the hook: the voters.

The film doesn't turn its issues into a glorified essay, but it does use them to give the audience a vital emotional workout.

Olsen, moody and apple-cheeked and intellectually avid, proves a true star: She turns being wiser than her years into an authentic generational state.

This Is 40 isn't always hilarious, but it's ticklishly honest and droll about all the things being a parent can do to a relationship. And why it's still worth it.

The film casts a hypnotic spell all its own. It artfully sketches out the events for anyone who's coming in cold, but basically, its strategy is to take what we already know and go deeper.

It's a crackerjack B movie worthy of comparison to such stylishly low-down, smart-meets-dumb, hyper-violent entertainments as the 1997 Kurt Russell thriller "Breakdown," Clint Eastwood's infamous police bloodbath "The Gauntlet," John Carpenter's original "Assault on Precinct 13," and Arnold's own overlooked 1986 outing "Raw Deal."

Soderbergh is able to execute his games without pigeonholing his characters. He has made that rare thing, a modern-day noir with feeling.

Harmony Korine's first ''mainstream'' movie, Spring Breakers, is by far the best thing he's ever done.

The movie never loses its affectionate, shaggy-dog sense of America as a place in which people, by now, have almost too much freedom on their hands.

Iron Man 3 is an ominously exciting, shoot-the-works comic-book spectacular.

Penn Badgley saunters around with an air of spooky self-possession, and he does a dead-on impersonation of Buckley's high-vibrato wail.

By the end, the rug gets pulled out from under us, showing that even the reality we think we see may be an illusion.

Doesn't offer anything to adult viewers as thrilling, as shivery, as satisfyingly primal as Steven Spielberg's intricate predator choreography in the original ''Jurassic Park.''

Undisputed is a shrewd and splendidly volatile B movie structured around a highly original gambit of suspense.

Funny and ebullient look at a man in full confusion.

Roberts, in her most forceful dramatic performance, allows us to take in every moment through fresh, impassioned eyes.

It's eye candy that detonates.

The Australian actress Frances O'Connor is a true find. She's as beautiful as the young Barbara Hershey, with a stare that's pensive yet playful, and she puts us in touch with the quiet battle of emotions in Fanny.