February 15, 2013 Imbued with a retro, classic feel, the stunning Chilean drama No takes a powerful look at the positive effects of political advertising. It's a message American audiences might marvel at, but this Oscar-nominated film definitely delivers. (Recommended)
February 14, 2013 Legendary Iranian director Abbas Kiarostami turns to the neon sprawl of Tokyo for Like Someone in Love, where his actors find some gentle insight. But the expat director retains something of the air of a wide-eyed tourist, which isn't always to the film's credit.
February 14, 2013 The cheery, cheesy Shanghai Calling trots out familiar plot lines and retread characters in a made-for-TV-style pastiche. But it's an enjoyably familiar journey of American migration that embraces its globally minded audience with open arms.
February 14, 2013 The supernatural romance could well have foundered amid its unwieldy mix of dark magic and Dixie camp. But it somehow succeeds — especially when it casts aside complications and focuses on the simple story of young love in the middle of it all.
February 14, 2013 If the clunky, clueless A Good Day to Die Hard achieves anything during its noisily explosive 90 minutes, it settles the long-running debate about which film in Bruce Willis' action series is the worst. Hint: It's this one.
February 7, 2013 Steven Soderbergh has said Side Effects will be his final film. But the talented director has turned in a stylish but silly thriller — a sad closing chapter for a notable career.
February 7, 2013 Short on thrills but chock full of dazzling CGI wizardry, the mythical Sorcerer and the White Snake is a centuries-old Chinese story of demon-human love gone wrong.
February 7, 2013 The Holocaust film is increasingly common, but films and novels telling the stories of German World War II survivors are still relatively rare — making Lore a welcome addition to the cinematic canon of postwar German narratives. (Recommended)
February 7, 2013 In the swinging suburbs, a husband and wife nurse their drinks and neglect their kids as their marriage implodes. Critic Scott Tobias says Julia Dyer's film is solidly performed but stultifyingly obvious with its metaphors.