I understand that it is a daunting task to make archaic mores resonate with a modern Chinese audience, but director Hu Mei, who’s been responsible for most of CCTV’s historical epics over the last decade, utterly confuses us with “Confucius” (sorry, couldn’t resist the pun).

There are few directors in the world who can take a premise about an inflatable sex doll that comes to life and make it a profound and moving film, rather than a facile and pornographic exercise, but Hirokazu Kore-eda is, as expected, up to the challenge.

It takes quite a few elements to be a world-class film maestro—a crazy mind, a unique style, a muse and a whole lot of issues. Spain’s national treasure Pedro Almodóvar has all these qualities in his pocket, and he doesn’t hold back in “Broken Embraces.” And it turns out... hmm... fine.

Welcome to the Fantasmagoric Wonder-Emporium of Doctor Phinaes T. Parnassium! Follow the rabbit through the looking glass and help the Christian lion Aslan lead his army of wood nymphs on a journey to recover the Chocolate Factory, and... oops wait, I think I just leaked the spoiler for the Wayans brothers’ “Fantasy Movie.”

“The Box” is a preposterous film. Now, being preposterous is not a bad thing; in fact, most people would expect preposterousness because this film is directed by Richard Kelly, the man behind “Donnie Darko.” Needless to say, “Donnie,”one of the most preposterous films of the noughties, works so well that it’s become a cult classic.

 “An Education” is the first screenplay by novelist Nick Hornby (“About a Boy”), and while the story itself—young girl falls for an older man who probably isn’t much good for her—isn’t a new one, neither in cinema nor in real life, the spectacular cinematography and stellar cast make it a must-see.

It seems that Warner Brothers wants audiences to view Clint Eastwood’s latest directing effort, “Invictus” and think Academy Award. By releasing the film during the holidays, casting Morgan Freeman as Nelson Mandela and transforming Matt Damon into a beefy rugby-playing machine, the studio is priming us to believe that this is a feelgood celluloid classic for the ages.

Since 2004’s cult hit “Napoleon Dynamite,” there’s been something of a surge in whip-smart indie-teen movies. You know the ones; they’re set in decidedly unglamorous middle-American locations, and starring a decidedly unglamorous and badly dressed cast.

“Black Ransom” is a surprisingly decent film. Surprising, because most people had low expectations walking into the theater. And you can’t blame people for that, after all, the leads are two TVB actors (Michael Miu and Fala Chen), and Simon Yam.

Black comedies are like sex—they’re desired, they’re accessible, but the really good ones are just darn hard to find. Well, at least when the Coen Brothers are not around. So we should all be glad with the arrival of those goat-staring men and their delirious eye-opening story because it’s wildly quirky, wacky, and most importantly, true.