Marrit Ingman

If you like Maxim, you’ll love this latest from adrenaline fiend Michael Bay.

The nature photography is so intimate, and the story of the penguins’ mating is so carefully crafted into a sustained and satisfying narrative, that they become epic heroes: brave, if not fearless, and stalwart fools for love.

In his microbudget debut, writer/director Bujalski shows a superb knack for capturing real moments (the stuff that happens between all the big moments) and the residue of our half-fulfilled inclinations.

Hungarian writer-director Antal is like the conductor of a midnight express: Grab a rail and hold on while he whizzes through montages and extreme angles of impossibly precipitous escalators in the Budapest subway system.

In this breezy Chinese-American coming-out comedy, ethnic, generational, and family identities collide with the anything-goes ethos of modern love.

This deluxe retread is sort of annoying, but it’s so scrappy and persistent that it seems kind of cute in spite of itself.

Less a feature film than 90 minutes of tweenage feminine wish fulfillment, The Perfect Man is like Teen People come to life.

Instead of reworking the original TV show’s subject matter regarding class and marriage, this is plodding mimicry featuring a predominantly African-American cast.

A young man steals into people’s apartments and adopts their identities in this largely wordless Korean drama.