The impact of spectacular action on striking international locales is moderated somewhat by the repetitive nature of the challenges faced by this rebooted team of American agents.

Has a casual, freewheeling nature in contrast to the creeping grandiosity of some of Disney's A-list animated titles.

Absorbing if somewhat predictable in its dramatic trajectory, Jacques Audiard's follow-up to his powerhouse prison yarn "A Prophet" benefits from unvarnished, forthright performances from Marion Cotillard and Bullhead hunk Matthias Schoenaerts, as well as from the utterly convincing representation of the former's paraplegic state.

Stylistically audacious in the way it employs six different actors and assorted visual styles to depict various aspects of the troubadour's life and career, the film nevertheless lacks a narrative and a center, much like the "ghost" at its core.

The Coen brothers tread into James M. Cain territory with The Man Who Wasn't There, but with less tasty results than either Cain or the Coens themselves at their best.

The action is confusing at first and the hyperventilated editing style at times goes beyond the pale, so pic ultimately emerges as an erratic but not unworthy sequel to its gritty, genre-invigorating predecessor.

A flat-out hilarious mainstream comedy.

A nice looking but heavily formulaic DreamWorks animation entry.

A grim picaresque odyssey across a beautiful scarred landscape laced together by private romantic longing. Handsomely made and vividly acted.

There are moments, especially when Welles is alternating between acting as Brutus and directing everyone else, that it’s possible to forget you’re watching an actor and really believe you’re beholding Orson Welles at work.

Schroeder's first non-American film in 16 years feels like a rejuvenation; his adaptation of Fernando Vallejo's 1994 novel has a naturalistic freedom and ease that is both refreshing and direct in the way it tells a deeply disturbing story.

Good escapist entertainment, and the effect is ingratiating.

In his bigscreen feature debut, director and co-writer Jonathan Mostow displays real flair for visceral cinema while adroitly sidestepping many of the usual tripwires of this sort of film, particularly silly coincidences, stupid decisions on the part of characters with whom you're supposed to identify, and superheroics performed by ordinary people.

Snappy and unusually funny under fundamentally serious circumstances, without being contrived or sitcomy.

Robert Altman takes an elegant, appealingly unemphatic look at the world of ballet.

Bursting at the seams with music, Taylor Hackford's ambitious film provides a good sense of the pioneering entertainer's extraordinary journey and brings it to life with plenty of colorful detail.

Pic's happiest surprise is Tobey Maguire in the title role, as the young actor provides an emotional openness and vulnerability that gives this $120 million production its most distinctive flavor.

Credibly and absorbingly relates the tale of journalistic fraud perpetrated by young writer Stephen Glass at the New Republic five years back.

An eye-popping but incoherent extravaganza of morphing and superhuman martial arts.

A gritty, intense and supremely accomplished sci-fier.

As Oscar, Jordan at moments gives off vibes of a very young Denzel Washington in the way he combines gentleness and toughness; he effortlessly draws the viewer in toward him.

An overly calculated concoction that nonetheless delivers a pretty good rush.

Sam Mendes' much-anticipated second effort after his Oscar-winning "American Beauty" finds him working in a very different key while displaying an even more pronounced attentiveness to tone, genre variations and artistic niceties.

A dazzling delight.

Entertaining and fabulously imaginative in many ways, this second bigscreen rendition of the late author's modest morality tale on the wages of unbridled excess sports excesses of its own.

The wealth of behavioral detail and observational humor make for some rewarding drama that will resonate with many viewers.

An intelligent, visually ravishing adaptation of Tracy Chevalier's best-selling novel.

After impressing well enough in his previous big screen directorial outings, Abrams works in a narrower, less imaginative mode here; there's little sense of style, no grace notes or flights of imagination. One feels the dedication of a young musician at a recital determined not to make any mistakes, but there's no hint of creative interpretation, personal feelings or the spreading of artistic wings.