Even though "The Hurt Locker" walked away with six Oscars, "Green Zone" is a better film about the Iraq war. The camerawork is smarter and director Paul Greengrass doesn't retreat from his own political bias.

Another horror remake, this time of an obscure George Romero flick from 1973, is elevated above others in the genre with a streamlined story, believable characters, and some amazingly visceral set pieces.

In Brooklyn’s Finest director Antoine Fuqua establishes a thin distinction between the good cops and the bad. In doing so he’s also created a film that makes it equally difficult to determine a good cop movie from a bad one. Brooklyn’s Finest may not be a bad film, but neither is it particularly good.

A lot happens in Fish Tank and it would be easy to sum it up in a quick outline, but that outline would be misleading and only serve to suggest that this film of teenage angst and anger is more of the same – truth is, Fish Tank offers much more than anything a synopsis can provide.

The world of The Wolfman seems permanently drained of light, with hues of dark blues and greys cast over every scene. The few breaks from this chromatic gloom - a single blue sky following a night of terror, and Anthony Hopkins’ amazing tiger-print jacket - are the closest the movie gets to comedic relief. The property that John Talbot (Hopkins) lords over is called Blackmoor, appropriately enough, which could translate as Dark Barren Wasteland.

The 2010 Oscar nominations are in, and it's time for opinions to start flyin'. Take a look through our gallery of nominees, and use our critical advice to influence your betting pool (no promises of success, however.) Will Avatar walk away with the big prize? Will Jeff Bridges finally earn a trophy? Stay tuned to find out.

Marijuana is illegal. A cop named Cristi, a young man with a new wife, has been tailing a 16-year-old kid for some time. There is no doubt the kid is smoking pot, but is he distributing it? Probably. Trafficking? Probably not, but it hardly matters. Cristi’s job is to demonize what he sees.

The White Ribbon deserves to be heralded as a masterpiece alongside There Will Be Blood and The Magnificent Ambersons (no, I am not trying to be contrary, I really do prefer this less appreciated Welles production over Citizen Kane). It will get my vote for best film at this year’s Oscars, although it hasn't even been nominated for best foreign language yet.

Saint John of Las Vegas is a replica of every wannabe independent film that’s found its way to pay television. To give this film a theatrical run is either a producer’s gamble or a director’s jackpot. What the film does have going for it is a cast -- Steve Buscemi, Sarah Silverman, Peter Dinklage, Romany Malco and Emmanuelle Chriqui -- that would make an indie director like Hal Hartley weep with envy.

At its most philosophical, Edge of Darkness is a discourse about our inevitable journey towards death. At its least philosophical, it’s a discourse on the inevitable journey of a tough cop with nothing to lose. That Edge of Darkness wants to be both philosophical and tough makes it a bit like sitting through a 90-minute funeral with a badass preacher heading the procedures.