Animal Kingdom (review)

This electrifying Australian crime drama sears all hint of the sentimental out of a harrowing tale of one Melbourne family’s felonious downfall, and — daringly — strips all sense of cinematic romance out of a genre that often idealizes the corrupt and the brutal.

Brighton Rock (review)

Call this a thriller of emotional suspense, and one that’s wickedly unsettling, in which we’re never sure who’s feeling what, or why, or to what extremes they’re capable of going.

The Mechanic (review)

The auteur who gave us Con Air, The General’s Daughter, and Lara Croft: Tomb Raider is back, extending his cinema terrible of violent, unthinking nihilism and brutal, pointless action. Oh, and misogyny for fun. Hoorah!

I Love You Phillip Morris (review)

Bad Santa writers Glenn Ficarra and John Requa graduate to writer-directors here, and give us a warmly human and hugely funny story that’s almost a sendup of both prison melodramas and hetero romantic comedies… yet is also a truly amorous and very satisfying tale about the extremes to which a man will go for love.

True Grit (review)

There’s a sense of something great just beyond the grasp of the Coen Brothers, something that they may not even be aware of, hanging over this elegant yet somehow vaguely unfinished film.

The Tourist (review)

Who knew the Hollywood Foreign Press Association had such a sense of humor? A nomination for Best Motion Picture, Musical or Comedy, for The Tourist? Unless… No… They can’t mean “Inadvertent Comedy,” can they?

The Girl Who Played With Fire (Flickan som lekte med elden) and The Girl Who Kicked the Hornet’s Nest (Luftslottet som sprängdes) (review)

Tough, smart, and competent, yet also wounded and searching: that Lisbeth Salander remains the riveting centerpiece of the two films that follow on from The Girl with the Dragon Tattoo, but, alas, her continuing story has been winnowed down in a way that makes it — and her — feel smaller than before.