Sara Maria Vizcarrondo

Sure it's fun - and painful - but it's not thin.

Arnold's newest testament to passion and squalor strikes a tone somewhere between Cary Fukinaga's emo "Jane Eyre" and Sophia Coppola's revisionist-hip "Marie Antoinette."

There's more to it than a black-and-white political conclusion, and the laundry list of California documentary heroes in the credits suggests this film is humanist before it's agenda driven.

The Master is big screen marvel intended for 70mm projection (a rare treat), with some beautiful imagery, but often inaudible dialogue. Phoenix's lived-in mumble comes off about as clear as Fenster from The Usual Suspects and Amy Adam's precise diction can't even save her harshest talking points.

The song and dance interaction of kids hollering advice during Blue's Clues happens here on the big screen, which is meant to transform the movie into a social event of sorts.

With an incredible performance by young Natasha Calls and surprisingly effect direction by Ole Bornedal (Nightwatch) you'll be surprised how this horror gets you just when you think you're safe.

The soulless-ness of their empty plot of track homes and super-store existence invokes both "Poltergeist" and "Employee of the Month."

Premium Rush has a rewarding relentlessness and a payoff that suggests that whirring city that surrounds us in is full of supporters who see past the system.

The shadow of Whitney Houston's stardom and crushing recent death hang heavy over this midrange movie that promises its female audience at least three good cries during its somewhat overlong run time.

ParaNorman is easily one of the most charming, imaginative and quirky comedies to come out of Laika Entertainment (Coraline), but for all its cleverness and urbane wit, it's in no way appropriate for kids.