A wonderful, serious-minded romantic comedy-drama.

An absorbing, shades-of-gray look at home-front intrigue in Nazi-occupied Denmark during World War II. Ole Christian Madsen’s accomplished fourth feature plays out on a much larger canvas than he’s used previously and offers nuance and ambiguity in equal measure with violence and tragedy.

Sad, compelling documentary leaves a few key questions frustratingly unanswered, but the raw materials here are sufficiently bracing.

An insightfully observed and exceptionally acted ensemble piece precisely about what the title suggests.

George Nofi pulls off a relative rarity in his feature film debut by creating a genuinely romantic fantasy suspense thriller.

It's juicy, fascinating stuff, well orchestrated by Carion and finely thesped -- especially by Kusturica.

In revisiting his darkly comic 1998 ensembler "Happiness," Todd Solondz may have made his best film with Life During Wartime.

On balance, this is a meaty, strongly realized dramatic work of considerable accomplishment.

Well-made and acted Coen Brothers remake lacks the humor and resonance that might have made it memorable.

Cohen employs a comic range that ricochets between wicked political barbs and the lowest anatomical farce, to often funny and occasionally hilarious effect.

The final installment of the immortal Bella/Edward romance will give its breathlessly awaiting international audience just what it wants.

Audacious, confident and fueled by youthful energy.

Cooler cars and more action follow Lightning and Mater as they mix it up with spies and Formula 1 racers in yet another Pixar winner.

So it's a fun, if not exhilarating, ride, one sped along with the help of a wonderfully assembled cast.

A perfectly diverting romp that happens to showcase some of the best 3D work yet from a mainstream animated feature. Colorful, clever enough, free of cloying showbiz in-jokes, action-packed without being ridiculous about it and even well choreographed.

Strong action, special effects and by far the most credible ape "performances" yet seen will spell box office to inspire chest-thumping in all markets.

A smoothly engineered crowd pleaser.

Fassbender cuts a more prosaic, realistic figure as the tormented, romantic Rochester than did the screen's most celebrated performer of the role, Orson Welles, in the effective 1944 version.

Black and his co-screenwriter, first-timer Drew Pearce, have great fun reshuffling the deck, teasing about who might occupy what superhero suit and morphing the story along with identity revelations and expansions of the dramatic horizons; the well-chosen cast members respond in kind with virtually palpable glee.

Whedon and his cohorts have managed to stir all the personalities and ingredients together so that the resulting dish, however familiar, is irresistibly tasty again.

Although Ridley Scott's 3D visual feast is no classic, the oozing alien tentacles hit all the right sci-fi horror notes.

This is a Wes Anderson film -- more lightweight than some, possessing a stronger emotional undertow than others -- that will strike the uninitiated as conspicuously arch.

Not too many films serve up laughs that just keep on rolling with regularity from beginning to end, but Seth MacFarlane's directorial debut does so and without any feeling of strain.

"No Country for Young Kids" would be just as suitable a title for The Woman in Black, a hoot of an old-fashioned British horror film.

Only Tarantino could come up with such a wild cross-cultural mash, a smorgasbord of ingredients stemming from spaghetti Westerns, German legend, historical slavery, modern rap music, proto-Ku Klux Klan fashion, an assembly of '60s and '70s character actors and a leading couple meant to be the distant forebears of blaxploitation hero John Shaft and make it not only digestible but actually pretty delicious.

Their physical disparity notwithstanding, Gordon-Levitt and Willis both come across strongly, while Blunt effectively reveals Sara's tough and vulnerable sides.

This surprising collaboration between director Clint Eastwood and "Milk" screenwriter Dustin Lance Black tackles its trickiest challenges with plausibility and good sense, while serving up a simmeringly caustic view of its controversial subject's behavior, public and private.

Feels lavish by normal documentary standards and will have great appeal in such F1 hotbeds as Europe and South America.