Naomi Watts

Begin by imagining that a single story is being told in multiple ways throughout the film: a story of naive hopes, heartbreak, jealousy...Erotic, fear-ridden, and beautiful, Lynch's primal imagery has the abhorrent and alluring pull of death itself.

We Don't Live Here Anymore frames with precision emotional moments in the lives of people who build their own prisons and, over time, plot escapes.

Puts Sean Penn through his actorly paces, which would be enough for most movies, but also intelligently explores the development of a [desperate] man.

A sketchy horror plot slips from episode to episode with no particular momentum. As far as I can tell, Kruger made a list of scares, and Nakata ticked them off.

Peter Jackson's King Kong is all things cinema, in the hands of a clever but overindulged filmmaker.

Like a long-term relationship, The Painted Veil is well-intentioned and not particularly sexy, but understands duties of forgiveness, sacrifice, and commitment.

Eastern Promises' unusually ambiguous character study makes for a different kind of crime drama, a striking if not entirely satisfying one.

With its investigation (and a few expertly conceived action set pieces), The International builds a compelling case.

Respectable but rather soggy.

Allen has here an interesting idea-that placebos may 'work better' than medicine-to noodle over and ultimately reject; it's just a shame he doesn't entertain us more in the process.

Despite the odd sharp observation, somehow J. Edgar comes off like the Max Fischer Players' production of Serpico...

Takes dicey material—the story of one privileged family's suffering during the 2004 Indian Ocean tsunami—and transcends its political incorrectness by focusing on the human condition.

The obvious shots at hipster scenes...eventually sour into a complex critique of modern ambition in a changing cultural landscape.

The hero of the new dramedy Demolition at one point muses, 'For some reason, everything’s becoming a metaphor.' Boy, you can say that again.

Luce primarily concerns itself with African-American identity, plagued by withering lowdown stereotypes and polar-opposite pressures...In some ways, the film’s subtle political satire proves even more distressing.

The characters and their interdynamics simply aren't that interesting during the rescue, so somehow it all comes off as dull. But there is Watts (and who wouldn't follow her anywhere?)

A mixed bag, but there are definitely moments where the performances, direction and photography sync up for an effectively moody atmosphere.