The car porn chiller “Getaway” is a movie of wonder. I wondered about the way the film was actually made, the shooting sequence, the extravagant car flips and pile-ups, the monotone acting. Did Ethan Hawke actually shoot all of the gear-shifting shots? Or was that Ethan Hawke’s hand double? Did they shoot one gear shift and re-use that footage? Or is there a special gear shift for each scene so that each one has a different feel? And were Ethan Hawke and Disney queen

I dressed like that. In college more so than high-school. Black trench coat (but mine was brown). Black slacks. Doc Martens. I never owned that Sisters of Mercy T-shirt, but I did own the album with that cover.

That was Gary King’s wardrobe on the last day of high-school in 1990, the day he and four friends started (but didn’t finish) a legendary twelve-pub crawl in their English hometown. It’s still what he wears twenty-three years later as he rounds

This is Wong Kar Wai's first martial arts outing, not to mention his first film since his embarrassing English-language attempt “My Blueberry Nights” from 2007.

Wong spent three years researching “Grandmaster,” which tells of Kung Fu masters in Northern China and Hong Kong in the years before WWII until the fifties, and he seems to have gotten all the details, down to the buttons on

“Blue Jasmine” is a perfect film, the first perfect film I’ve seen all year. It is smart, well-written, entertaining, beautifully filmed and the performances are unbelievably good. The film is also more remarkable for what it demonstrates of the faculties of Woody Allen. After his amusing but rather shallow exercises of the past years, not only with his European forays but even before (remember “Whatever Works”? I didn’t think so), he manages to completely renew himself

If there were a subtitle to Joshua Oppenheimer's "The Act of Killing," it could be "Fun Loving War Criminals." A cadre of aging Indonesian gangsters relive their part in a pogrom against communists in the sixties.

In the political chaos of the time, the Indoneisan army staged a coup in order to pre-empt a suspected communist takeover of the government and saved Mel Gibson and Sigourney

Lynn Shelton is an undeniably accomplished writer, editor, and director; her first film “We Go Way Back” won the grand prize at Slamdance in 2006. Since then she has distinguished herself through her astute observations of human relationships in all their weirdness and confusion. 2009's “Humpday” focused on two male friends considering making a gay porn film together, and led to a remake being done in France. Her 2011

Miles Teller and Shailene Woodley are such a naturally charming on-screen couple that it takes quite awhile to realize the movie they're in, "The Spectacular Now," isn't very good.

Directed by James Ponsoldt (who debuted with the far more focused and wrenching "Smashed" last summer) and adapted from a Tim Tharp novel by writers/co-producers Scott Neustadter and Michael H. Weber (who also wrote