There are movies that feature difficult lives shrouded in adversity. There are movies that feature good people struggling through hard times. Then there is The Turin Horse, a movie that portrays lives that are not just difficult, but lives rooted in an existential despair so profound it’s difficult to watch.

Seth MacFarlane (creator of Family Guy and several other nearly identical shows) hasn’t quite made a seamless jump into films with Ted, his feature directorial debut.

After the way-too-much-going-on Spider-Man 3, one would think the cynical minds behind this reboot would concoct a story that doesn’t fly in a million directions at once. There’s nothing wrong wit

It’s been opined over and over that Woody Allen’s late career resurgence can be traced to his arrival in Europe. Starting with Match Point, the guy has churned out one winner after another. Even S

Because Wes Anderson’s Moonrise Kingdom is getting the kind of raves usually reserved for doctors who cure polio, it’s necessary for me to admit this up front: I don’t like his films. 

In the movies, “Inspired by true events” usually means “100 percent horseshit.” The story in People Like Us feels like baloney, but we all know someone who’s uncovered a shocking secret

Something’s not quite right with Brave. It looks wonderful, is acted expertly by its voice cast and has moments of catch-your-breath drama, but the tone is all wrong. After the inspired storytelling of Up, Finding Nemo and Ratatouille, Pixar’s latest adventure is a serious letdown.

Peace, Love & Misunderstanding is so bad that it’s a small miracle the picture was made at all. Even the premise is bad: Divorcing 40-ish mother of two takes the kids to see their grandmother, Grace, whom the kids have never met. Grandma is a hippie. And Jane Fonda.

 A fabulously wealthy quadriplegic (François Cluzet of Tell No One) hires an ex-con from the projects (Omar Sy) to take care of him in The Intouchables, which in March became the top-grossing non-English-language film of all time.

Polisse won the Grand Jury prize at the Cannes Film Festival in 2011 and was nominated for 13 César Awards, the French equivalent of the Academy Awards. The film won two—Best Editing and Most Promising Actress for Naidra Ayadi, who’s on screen for maybe 12 minutes.