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Monsieur Lazhar (Mohamed Fellag) is an Algerian immigrant who talks his way into the job of taking over the classroom where the teacher has died. He's very happy to have the teaching position, but there's an immediate culture clash in Lazhar's high expectations of the children.  The growing relationship between Lazhar and two of his students, kids who are particularly troubled by their teacher's death, is the centre of the story. The boy Simon (Emilien Neron) is riven with guilt and wonders if the teacher's death has a specific message for him. The girl, Alice (Sophie Nelisse) makes Simon's anguish worse as she attempts to get to the bottom of her own feelings.  The children's performances are heart-rending, and as Lazar, Mohamed Fellag puts in an understated performance that is profoundly affecting. Liz Braun

Jason (Adam Scott) and Julie (Westfeldt) are single, New York thirtysomethings and they've been friends since college. They're not a couple, but all their friends—Ben and Missy (Jon Hamm, Kristen Wiig) and Leslie and Alex (Maya Rudolph, Chris O' Dowd)—are. This tight-knit six-pack doubts children could change their lives but flash forward a few years and it's totally done just that: they stayed single and their friends morphed into exhausted parents who only talk about kids. A birthday celebration leads to a unique proposition and sooner than you know, this unmarried pair of "just friends" have a baby together and try the most unconventional of relationships.

As the amusingly named Harriet Chetwode-Talbot, Blunt helps a Middle Eastern Sheik (Amr Waked) fulfill his madcap dream of salmon fishing in his desert home. To do this she enlists a by-the-numbers fisheries official, Fred Jones (McGregor), who's naturally against the idea of building a river in the VERY dry desert but the scheme is none-the-less put in motion by PR whiz Patricia Maxwell (an over-the-top Kristin Scott Thomas), who intrigues the Parliament which convinces the Prime Minister this is the perfect international goodwill mission. As Talbot and Jones get deeper into the effort to bring the fish over, they become ‘fish out of water' too, particularly as an attraction blooms.

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

This spectacular epic re-creates the ill-fated maiden voyage of the White Star Line's $7.5 million R.M.S Titanic and the tragic sea disaster of April 15, 1912. Running over three hours and made with the combined contributions of two major studios (20th Century-Fox, Paramount) at a cost of more than $200 million, Titanic ranked as the most expensive film in Hollywood history at the time of its release, and became the most successful. Writer-director James Cameron employed state-of-the-art digital special effects for this production, realized on a monumental scale and spanning eight decades. Inspired by the 1985 discovery of the Titanic in the North Atlantic, the contemporary storyline involves American treasure-seeker Brock Lovett (Bill Paxton) retrieving artifacts from the submerged ship. Lovett looks for diamonds but finds a drawing of a young woman, nude except for a necklace. When 102-year-old Rose (Gloria Stuart) reveals she's the person in the portrait, she is summoned to the wreckage site to tell her story of the 56-carat diamond necklace and her experiences of 84 years earlier.

As the amusingly named Harriet Chetwode-Talbot, Blunt helps a Middle Eastern Sheik (Amr Waked) fulfill his madcap dream of salmon fishing in his desert home. To do this she enlists a by-the-numbers fisheries official, Fred Jones (McGregor), who's naturally against the idea of building a river in the VERY dry desert but the scheme is none-the-less put in motion by PR whiz Patricia Maxwell (an over-the-top Kristin Scott Thomas), who intrigues the Parliament which convinces the Prime Minister this is the perfect international goodwill mission. As Talbot and Jones get deeper into the effort to bring the fish over, they become ‘fish out of water' too, particularly as an attraction blooms.

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

This spectacular epic re-creates the ill-fated maiden voyage of the White Star Line's $7.5 million R.M.S Titanic and the tragic sea disaster of April 15, 1912. Running over three hours and made with the combined contributions of two major studios (20th Century-Fox, Paramount) at a cost of more than $200 million, Titanic ranked as the most expensive film in Hollywood history at the time of its release, and became the most successful. Writer-director James Cameron employed state-of-the-art digital special effects for this production, realized on a monumental scale and spanning eight decades. Inspired by the 1985 discovery of the Titanic in the North Atlantic, the contemporary storyline involves American treasure-seeker Brock Lovett (Bill Paxton) retrieving artifacts from the submerged ship. Lovett looks for diamonds but finds a drawing of a young woman, nude except for a necklace. When 102-year-old Rose (Gloria Stuart) reveals she's the person in the portrait, she is summoned to the wreckage site to tell her story of the 56-carat diamond necklace and her experiences of 84 years earlier.

As the amusingly named Harriet Chetwode-Talbot, Blunt helps a Middle Eastern Sheik (Amr Waked) fulfill his madcap dream of salmon fishing in his desert home. To do this she enlists a by-the-numbers fisheries official, Fred Jones (McGregor), who's naturally against the idea of building a river in the VERY dry desert but the scheme is none-the-less put in motion by PR whiz Patricia Maxwell (an over-the-top Kristin Scott Thomas), who intrigues the Parliament which convinces the Prime Minister this is the perfect international goodwill mission. As Talbot and Jones get deeper into the effort to bring the fish over, they become ‘fish out of water' too, particularly as an attraction blooms.

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

This spectacular epic re-creates the ill-fated maiden voyage of the White Star Line's $7.5 million R.M.S Titanic and the tragic sea disaster of April 15, 1912. Running over three hours and made with the combined contributions of two major studios (20th Century-Fox, Paramount) at a cost of more than $200 million, Titanic ranked as the most expensive film in Hollywood history at the time of its release, and became the most successful. Writer-director James Cameron employed state-of-the-art digital special effects for this production, realized on a monumental scale and spanning eight decades. Inspired by the 1985 discovery of the Titanic in the North Atlantic, the contemporary storyline involves American treasure-seeker Brock Lovett (Bill Paxton) retrieving artifacts from the submerged ship. Lovett looks for diamonds but finds a drawing of a young woman, nude except for a necklace. When 102-year-old Rose (Gloria Stuart) reveals she's the person in the portrait, she is summoned to the wreckage site to tell her story of the 56-carat diamond necklace and her experiences of 84 years earlier.

As the amusingly named Harriet Chetwode-Talbot, Blunt helps a Middle Eastern Sheik (Amr Waked) fulfill his madcap dream of salmon fishing in his desert home. To do this she enlists a by-the-numbers fisheries official, Fred Jones (McGregor), who's naturally against the idea of building a river in the VERY dry desert but the scheme is none-the-less put in motion by PR whiz Patricia Maxwell (an over-the-top Kristin Scott Thomas), who intrigues the Parliament which convinces the Prime Minister this is the perfect international goodwill mission. As Talbot and Jones get deeper into the effort to bring the fish over, they become ‘fish out of water' too, particularly as an attraction blooms.

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Margaret Atwood’s visionary work Payback: Debt and the Shadow Side of Wealth is the basis for this riveting and poetic documentary on “debt” in its various forms—societal, personal, environmental, spiritual, criminal, and of course, economic. Filmmaker Jennifer Baichwal interweaves these (sometimes surprising) debtor/creditor relationships: two families in a years-long Albanian blood feud; the BP oil spill vs. the Earth; mistreated Florida tomato farm workers and their bosses; imprisoned media mogul Conrad Black and the U.S. justice system.

As the amusingly named Harriet Chetwode-Talbot, Blunt helps a Middle Eastern Sheik (Amr Waked) fulfill his madcap dream of salmon fishing in his desert home. To do this she enlists a by-the-numbers fisheries official, Fred Jones (McGregor), who's naturally against the idea of building a river in the VERY dry desert but the scheme is none-the-less put in motion by PR whiz Patricia Maxwell (an over-the-top Kristin Scott Thomas), who intrigues the Parliament which convinces the Prime Minister this is the perfect international goodwill mission. As Talbot and Jones get deeper into the effort to bring the fish over, they become ‘fish out of water' too, particularly as an attraction blooms.

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Margaret Atwood’s visionary work Payback: Debt and the Shadow Side of Wealth is the basis for this riveting and poetic documentary on “debt” in its various forms—societal, personal, environmental, spiritual, criminal, and of course, economic. Filmmaker Jennifer Baichwal interweaves these (sometimes surprising) debtor/creditor relationships: two families in a years-long Albanian blood feud; the BP oil spill vs. the Earth; mistreated Florida tomato farm workers and their bosses; imprisoned media mogul Conrad Black and the U.S. justice system.

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Young people, selected by lottery, slaughter one another with kill-or-be-killed desperation in The Hunger Games. The savagery is a yearly ritual mandated by the tyrannical regime of Panem, a broken nation built, after a terrible war, on the futuristic ruins of North America. It's also broadcast on live TV, a national media event. This horrific vision of a near future in which teenagers are in peril is sickening, but the individual heroism of some who fight is also thrilling, as millions of readers can attest: Suzanne Collins' Hunger Games trilogy is a literary sensation. The good news now coming out of Panem, both for those who already know just how brutal the Games become and those who are new to the dystopian tale, is that the movie adaptation knows how to play too. - Lisa Schwarzbaum/EW

Margaret Atwood’s visionary work Payback: Debt and the Shadow Side of Wealth is the basis for this riveting and poetic documentary on “debt” in its various forms—societal, personal, environmental, spiritual, criminal, and of course, economic. Filmmaker Jennifer Baichwal interweaves these (sometimes surprising) debtor/creditor relationships: two families in a years-long Albanian blood feud; the BP oil spill vs. the Earth; mistreated Florida tomato farm workers and their bosses; imprisoned media mogul Conrad Black and the U.S. justice system.

Terence Davies’ crushing new film, The Deep Blue Sea, based on Terence Rattigan’s 1952 play, earns a place alongside Letter From An Unknown Woman and The Heiress, those beautiful romantic tragedies about women whose love curdles and rots when they get nothing in return. The difference is that Hester Collyer (Weisz), Rattigan’s heroine, cannot fairly blame her lover for failing to live up to her impossible expectations. The painful journey in The Deep Blue Sea isn’t about unrequited passion or betrayal—though there’s plenty of both—but about Hester taking ownership of who she is and struggling, with heartbreaking conviction, to find some perspective on the wreckage that she’s made of her life.

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

14-year-old Arrietty (voiced by Bridgit Mendler) lives with her mother and father (Amy Poehler and Will Arnett) under the floorboards of an old country cottage. When Arrietty encounters Shawn (David Henrie), a sickly human boy convalescing in the house, she opens up a portal into the big-people world that threatens both their lives and the lives of her parents.

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

Terence Davies’ crushing new film, The Deep Blue Sea, based on Terence Rattigan’s 1952 play, earns a place alongside Letter From An Unknown Woman and The Heiress, those beautiful romantic tragedies about women whose love curdles and rots when they get nothing in return. The difference is that Hester Collyer (Weisz), Rattigan’s heroine, cannot fairly blame her lover for failing to live up to her impossible expectations. The painful journey in The Deep Blue Sea isn’t about unrequited passion or betrayal—though there’s plenty of both—but about Hester taking ownership of who she is and struggling, with heartbreaking conviction, to find some perspective on the wreckage that she’s made of her life.

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

14-year-old Arrietty (voiced by Bridgit Mendler) lives with her mother and father (Amy Poehler and Will Arnett) under the floorboards of an old country cottage. When Arrietty encounters Shawn (David Henrie), a sickly human boy convalescing in the house, she opens up a portal into the big-people world that threatens both their lives and the lives of her parents.

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

Terence Davies’ crushing new film, The Deep Blue Sea, based on Terence Rattigan’s 1952 play, earns a place alongside Letter From An Unknown Woman and The Heiress, those beautiful romantic tragedies about women whose love curdles and rots when they get nothing in return. The difference is that Hester Collyer (Weisz), Rattigan’s heroine, cannot fairly blame her lover for failing to live up to her impossible expectations. The painful journey in The Deep Blue Sea isn’t about unrequited passion or betrayal—though there’s plenty of both—but about Hester taking ownership of who she is and struggling, with heartbreaking conviction, to find some perspective on the wreckage that she’s made of her life.

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

Terence Davies’ crushing new film, The Deep Blue Sea, based on Terence Rattigan’s 1952 play, earns a place alongside Letter From An Unknown Woman and The Heiress, those beautiful romantic tragedies about women whose love curdles and rots when they get nothing in return. The difference is that Hester Collyer (Weisz), Rattigan’s heroine, cannot fairly blame her lover for failing to live up to her impossible expectations. The painful journey in The Deep Blue Sea isn’t about unrequited passion or betrayal—though there’s plenty of both—but about Hester taking ownership of who she is and struggling, with heartbreaking conviction, to find some perspective on the wreckage that she’s made of her life.

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

Bully is a moving, vital and responsible must-see documentary directed by Lee Hirsch that serves as a wake-up call for responsible human beings to address the heartbreaking headline issue of schoolyard bullying that is resulting in so many teenage suicides.  Mr. Hirsch follows five examples of bullying over the course of one school year. The results are mostly sad, but sometimes enriched with hope, and always avoidable, inexcusable and unnecessary in a free and privileged society like America’s.  - Rex Reed/New York Observer

Bully is a moving, vital and responsible must-see documentary directed by Lee Hirsch that serves as a wake-up call for responsible human beings to address the heartbreaking headline issue of schoolyard bullying that is resulting in so many teenage suicides.  Mr. Hirsch follows five examples of bullying over the course of one school year. The results are mostly sad, but sometimes enriched with hope, and always avoidable, inexcusable and unnecessary in a free and privileged society like America’s.  - Rex Reed/New York Observer

Bully is a moving, vital and responsible must-see documentary directed by Lee Hirsch that serves as a wake-up call for responsible human beings to address the heartbreaking headline issue of schoolyard bullying that is resulting in so many teenage suicides.  Mr. Hirsch follows five examples of bullying over the course of one school year. The results are mostly sad, but sometimes enriched with hope, and always avoidable, inexcusable and unnecessary in a free and privileged society like America’s.  - Rex Reed/New York Observer

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic

Bully is a moving, vital and responsible must-see documentary directed by Lee Hirsch that serves as a wake-up call for responsible human beings to address the heartbreaking headline issue of schoolyard bullying that is resulting in so many teenage suicides.  Mr. Hirsch follows five examples of bullying over the course of one school year. The results are mostly sad, but sometimes enriched with hope, and always avoidable, inexcusable and unnecessary in a free and privileged society like America’s.  - Rex Reed/New York Observer

Like any master of the art, Jiro, who is 85, can show you how a trick works, let you see the details, and yet it still mystifies anyway. That is the hallmark of true magic. But while other magicians work with top hats and rabbits, Jiro works with sushi. His restaurant, a tiny, 10-seat spot in a Tokyo subway station, is widely acclaimed as home to the greatest sushi in the world.

Jiro is obsessed with sushi. What is the old adage? Find something you love to do and you'll never work a day in your life? Perhaps. But Jiro lives to work. He detests holidays, can't wait to get back to the restaurant, get back to toiling at his chosen path: to make better sushi. Yes, his may be the best there is, but that's not good enough for him. The title is telling -- Jiro dreams of making better sushi, despite working at it non-stop for 70 years.  - Bill Goodykoontz/AZ Republic