Will Gluck’s musical doesn’t adapt the familiar Little Orphan Annie of the 1930s to present-day Harlem all that gracefully, but Quvenzhané Wallis’ preternatural charm does a lot to compensate.
Third time is not the charm for the regrettably popular Night At The Museum franchise, which squanders Robin Williams’ Teddy Roosevelt in another effects-heavy noisemaker posing as education advocacy.
Mark Wahlberg lays it all on the line in a slick update of a 40-year-old James Toback script directed by Rise Of The Planet Of The Apes’ Rupert Wyatt.
Nuri Bilge Ceylan’s Palme d’Or-winning follow up to Once Upon A Time In Anatolia takes the form of a study in delusion and arrogance.
In this sumptuous yet earthy biopic about early-19th-century painter J.M.W. Turner, Mike Leigh profiles an artist whose personal failings are neither forgiven nor allowed to overwhelm his accomplishments.
For two decades, a serial killer nicknamed the “Grim Sleeper” was able to slaughter prostitutes and crack addicts at will in his South Central neighborhood. Nick Broomfield’s damning documentary accounts for how he got away with it for so long.
Junebug screenwriter Angus MacLachlan makes his directorial debut with an ambling, inconsequential indie about a sweet guy (Paul Schneider) whose inattentive nature leads to an unexpected divorce.
Emmanuelle Devos and Mathieu Amalric have appeared in many films together, and their prickly chemistry livens up Sophie Fillières’ drama about a contentious marriage.
The closing installment in Peter Jackson’s three-film, nearly eight-hour adaptation of J.R.R. Tolkien’s The Hobbit strips some of the busywork and nonsense away, but not quite enough.
After years of failing to translate his electric stand-up to the big screen, writer-director-star Chris Rock finally succeeds with this caustic comedy that doubles as a reflection on his own place in the Hollywood system.
Ridley Scott’s ability to incorporate cutting-edge special effects into an atmospheric whole occasionally brings this Biblical epic to startling life, but the story of Moses and Ramses is too much of a slog to be redeemed by it.
A charming cast does its best to compensate for the awkward set-up and confusing gender politics of this indie comedy about a journalist who gets drawn into the feminist moment she’s covering.
Saar Klein’s debut feature recalls the Coen brothers in its morally complicated tale of an ordinary family man (Wes Bentley) driven to petty criminality, but falls short in every conceivable way.
Producer James Franco commissioned 12 New York University film students to help him and a cast of stars bring cinematic life to the memories and poems of Pulitzer Prize-winner C.K. Williams.
Erstwhile Sundance favorite Alexandre Rockwell returns to his no-budget roots with this 16mm, B&W trifle about two kids who search for a goldfish to replace one that’s died. Rockwell’s own kids play the lead roles.
The title is the most coherent part of this jumbled documentary that tries to squeeze tales of several different Arab Spring uprisings under the same reductive umbrella.
Paul Thomas Anderson’s masterful adaptation of Thomas Pynchon’s 2009 mystery novel sends pot-smoking P.I. Doc Sportello (Joaquin Phoenix) on a case that signals the changing Southern California culture of 1970.
Oscar montage specialist Chuck Workman offers a cradle-to-grave introduction to Orson Welles, who spent a career changing the medium while fighting an industry unkind to mavericks.
There are traces of Atom Egoyan’s old mastery on the surface of this abduction drama about a girl who resurfaces eight years after being kidnapped. But digging deeper, the story is a disappointing pile of shlock.
Trapped in a serial killer’s subterranean torture room, a rookie cop (Beau Mirchoff) flashes back to his department poker games for tips on how to escape.