The moment of truth in Sarah Polley’s "Take This Waltz" occurs when two of its principals are buck naked. Showering in the locker room after a dopey swimming class, Margot (Michelle Williams), a married woman secretly tempted to stray, and her sister-in-law Geraldine (Sarah Silverman), more happily married but a recovering alcoholic, pontificate on the inevitability of domestic boredom. “New things become old,”

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Beware, “Beasts of the Southern Wild” has the power to burst in your mind and bury itself in your heart for weeks to come. A well-deserving winner at both the Cannes (it won the Camera D’Or, a prize exclusively attributed to first-time efforts) and Sundance Film festivals, this triumph of a movie from debuting director Benh Zeitlin is as fierce and moving a film as I can remember seeing in years. And at its center is a performance of sheer deter-

Have you heard of “People like Us”? It's by the same studio--Dreamworks--which had released “The Help.” "People" barely even meets that previous mediocre effort, however, and lacks the two name actresses who made "The Help" the film that it was. That "People" was written by the same scribes (Roberto Orci and Alex Kurtzman; they also directed it) who were behind the “Transformers” screenplay is no surprise: this is about as

You’ll never look at your child’s teddy bear the same way again. From the mind of “Family Guy” creator Seth MacFarlane comes his debut film about a stuffed teddy come-to-life who enjoys the finer pleasures like strippers, smoking weed, cursing, and dirty sexual innuendi. This miraculous thing happened years ago when a young boy named John made a wish, transforming Ted into a flash-in-the-pan celebrity and turning them into inse-

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