There simply isn’t a single false note or bit of contrivance in Rachel Getting Married

The term “Oscar bait” derives its meaning from films such as Changeling. Working from a script that touches on heart-wrenching, tear-jerking themes—and one that castigates a period of paternalism and corruption that nearly everyone can feel good about castigating...

It’s astonishing how many creepy guys women have to put up with. Creepy dudes seem to lurk everywhere. They emerge to grope themselves publicly, say really awkward things or strike up conversations with the obvious (“So, shopping, huh?”).

The new Hurricane Katrina documentary Trouble the Water is a film that should be seen by every single American. That sounds like hyperbole, but isn’t. See this movie. It’s that important.

I was sooo prepared to loathe High School Musical 3 before I realized that—if I understand things right—it is Disney’s first movie about gay teenagers struggling with their super-obvious gayness while trying to live double lives as Disney-perfect straight kids.

W. would have been exceptionally ballsy back when Bush’s approval ratings were at a historic high. As they reach unprecedented lows, which have gone from being counted in percentage points to being counted on fingers, one is almost tempted to feel sorry for the guy—tragically flawed as he is, with his faith vastly stronger than his competence. Almost.

A holy light doth shineth upon Save Me. Unfortunately, the radiance that bathes this gay “conversion” drama, made and set in New Mexico, is, in fact, the too-perfect glow of soap opera lighting and the first indication of the cheesy melodrama to come.

The best aspects of Body of Lies are found in its smartly-written cat-and-mouse machinations and reversals of predator/prey relations. The acting is good, if not stellar, and the action is well-shot and briskly paced. On the other hand, the romance seems superfluous and the dénouement makes use of a somewhat absurd deus ex machina.

Appaloosa looks great, from the rugged New Mexican exteriors to the saloon interiors. It’s also, dramatically, a funny and entertaining—if not overly ambitious—western, a genre that has seen somewhat of a mini-resurgence in recent years.

American audiences that have seen films such as Magnolia and Babel are no strangers to woven, semi-interconnected narratives. The strength of these films often lies in how different story elements bal