Ben Stiller isn't funny - honest. Ben Stiller is very funny, and smart, and cute, too, in a neurotic, New York kind of way.

Mr. Lapid, making an electrifying feature directing debut, traces the line between the group and the individual in a story that can be read as a commentary on the world as much as on Israel.

André Bazin wrote that art emerged from our desire to counter the passage of time and the inevitable decay it brings. But in “Boyhood,” Mr. Linklater's masterpiece, he both captures moments in time and relinquishes them as he moves from year to year. He isn't fighting time but embracing it in all its glorious and agonizingly fleeting beauty.

An acquired taste, this dense Jabberwocky-ish word salad is a political allegory about a populace that's been pharmaceutically duped into believing its wretched world is wonderful.

Paprika is evidence that Japanese animators are reaching for the moon, while most of their American counterparts remain stuck in the kiddie sandbox.

American commercial cinema has long been dominated by men, but I don’t think there has ever been another time when women have been as underrepresented on screen as they are now. The biggest problem isn’t genuinely independent cinema, where lower budgets mean more opportunities for women in front of and behind the camera. The problem is the six major studios that dominate the box office, the entertainment chatter and the popular imagination. Their refusal to hire more female directors is immoral, maybe illegal, and has helped create and sustain a representational ghetto for women.

There isn’t anything good to say about Kick-Ass 2, the even more witless, mirthless follow-up to Kick-Ass.