The mythology behind the Wonderland books is so complex, there are sure to be disappointed diehards, but Alice in Wonderland is a fun reinterpretation of the stories so many of us grew up reading and watching. It is easily the most visually impressive release since Avatar, and though it’s by no means Burton’s best movie, it is among his better ones.

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Horror film is enduring a period of what some would call “rejuvenation” and others would dub “total lack of imagination.” Good new horror is hard to find and recent remakes have been totally hit-or-miss. This weekend’s The Crazies is based on a 1973 George Romero film of the same name. This version, directed by Breck Eisner, shares basic plot points and characters, but it outdoes the mediocre-to-awful original by far.

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Martin Scorsese’s newest picture Shutter Island is a creepy cinematic passage into paranoia, guilt, and insanity—a classic thriller with undertones of gothic romance and the failed American dream. The trailers, which anyone who’s taken in a movie in the last year has seen, reveal little but hint at a lot. Fortunately, the movie is a great watch even if the conclusion may leave some audiences grumbling.

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Werewolves in cinema have had many incarnations, but most modern lore stems from the 1941 Universal picture The Wolf Man. The unforgettable image of a monstrously deformed Lon Chaney, Jr. thrusting out his chest, baring his claws, and baying at the full moon is one of Hollywood’s most lasting. Director Joe Johnston’s The Wolfman, also a Universal production, is a pitch-perfect reboot of the classic horror movie.

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Structural difficulties, failed attempts at levity and below-par action sequences would be bad enough, but sadly From Paris with Love also has a noticeably sexist undercurrent to its detriment, giving what would normally have simply been a bland meal a genuinely unpleasant aftertaste.

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According to the script, God has lost faith in humanity, ostensibly because he grew “tired of all the BS.” Thus He orders the angels to exterminate mankind—just to switch it up a bit, since last time He went with a flood. The angel Michael (Paul Bettany) disagrees with God’s order and falls from heaven to save the human race. Michael chooses a tiny town called Paradise Falls (a clever but gauche touch of Dante), at the edge of the Mojave desert, in which to prove that humans are worth saving.

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The novel opens with a striking, abrupt proclamation: “My name is Salmon, like the fish; first name, Susie. I was fourteen when I was murdered on December 6, 1973.” After her murder, Susie watches from the Inbetween, a kind of non-Christian purgatory, as her family struggles with her death. Jackson, whose visionary filmmaking has earned him massive acclaim in the past, creates a heaven of brilliant, surreal landscapes in which Susie and her fellow dead frolic.

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Wong Kar-wai’s beautiful tone poem is an ode to unrequited and impossible love. Its brilliant color scheme, gorgeous costumes, unforgettable cinematography, and heart-wrenching violin score harmonize to create a film that seethes with romance, melancholy, and the allure of the impossible.

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At the end, she’s back at square one leading the student life, but inside, she’s grown exponentially. Life is cruel, life is not fair but life truly is beautiful. One of the best coming of age films of all time.

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Marshall apparently strove for the early 60s New Wave Cinema feel, which relied heavily on shaky camerawork and frenetic editing—except during musical numbers, which are proscribed so heavily as to be cloying. As the filmmakers strove to pay homage to 1960s Italian cinema, they lost the meaning behind the art, leaving a messy result.

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