The vampire movie gets the Jim Jarmusch treatment in Only Lovers Left Alive, a too-hip-to-be-hip treatise on the undead
The Railway Man, a tender WWII drama, is well-crafted by director Jonathan Teplitzky and beautifully shot by Garry Phillips
300: Rise of an Empire is purportedly based on a follow-up graphic novel by Frank Miller entitled Xerxes, yet to be released
The Monuments Men tells the story of a handful of men who recovered artwork stolen by Nazis during WWII and their wartime efforts
Non-Stop is a good old-fashioned B-movie thriller updated with modern technology and post-9/11 air travel commentary
Saving Mr. Banks tells the story of Disney’s film version of Mary Poppins and the relationship between Walt Disney and author P.L. Travers
Labor Day might be shamelessly indulgent melodrama, but this kind of Douglas Sirk throwback is almost a breath of fresh air
Jack Ryan: Shadow Recruit is immensely aided by the presence of Kenneth Branagh both in front of and behind the camera
The Big Chill meets The Celebration meets Who’s Afraid of Virginia Woolf in director John Wells’ August: Osage County
American Hustle might be David O. Russell’s best-received feature yet, garnering almost unanimous praise from critics and 10 Oscar nominations
The Secret Life of Walter Mitty reaches for far more than it actually delivers, and contradicts the theme of the original story in the process
Filth, from the unfilmable novel by Irvine Welsh, is the scummiest, most depressing Christmas movie you’ll ever see
Byzantium, a gorgeously-photographed, full-bodied vamp tale, looks and feels so good that it overcomes some basic storytelling flaws
The Butler (officially titled Lee Daniels’ The Butler for legal reasons) boasts a notable cast filled with familiar faces in the smallest roles
Ender’s Game takes place in the not-so-distant future, years after an alien race called the Formics has attacked Earth
Broken is an affecting portrait of life in suburban North England told from the point of view of its 11-year-old protagonist
Don Jon represents an unusual choice of material for Joseph Gordon-Levitt, making his feature-length writing and directing debut
2 Guns doesn’t bring anything new to the table but a fast pace and loose presentation makes this an agreeably fun ride
Springsteen and I is at its most fascinating when telling the actual stories of the people who got up there on stage
Riddick, a modest-budgeted ($38 million) sequel with straightforward plotting, delivers the genre goods just like a 1950s sci-fi quickie
We’re the Millers is predictable and formulaic to a hilt, but also has a goofy, likable streak that leaves a smile across your face
Pain & Gain is a nasty, inherently unlikable little piece of work that distances itself from its audience through both style and content
James Mangold’s The Wolverine is a surprisingly straightforward, well-defined and even (at times) low-key picture
Pacific Rim is a big, thunderous mashup of the Godzilla and Transformers film franchises that threatens to pound the viewer into submission