Arts

A matinee idol for the age of HDTVs and "retina displays," Robert Pattinson has a face that seems to require a higher resolution — glossy and ghostly pale, all sleek lines and alabaster skin. As Edward Cullen, the emo vampire in the Twilight saga, Pattinson plays a creature so immaculately inhuman that he literally sparkles in the sunlight. Edward may be over a century old, but Pattinson has become a thoroughly modern, even futuristic teen heartthrob, looking at all times as airbrushed as his many Entertainment Weekly covers.

The monosyllables fly fast and furious in The Expendables 2. It's the joints that are a little creaky, but what would you expect from this sequel to the 2010 blockbuster in which a cadre of aged action stars, led by Sylvester Stallone, gathered to fire guns, blow things up and beat the living daylights out of assorted baddies?

Even if most fans of hand-drawn animation have made peace, to a degree, with digital technology, the pleasures of old-school stop-motion animation are still rare and precious. There's something elemental about watching a movie that's been made by moving small figures around and filming them, frame by frame; even though there's always some digital technology involved in the making of a contemporary stop-motion film, the human touch always sings through the finished product.

With Love Songs, his 2007 musical, French writer-director Christophe Honore updated such 1960s bonbons as The Umbrellas of Cherbourg for our age of expanded erotic frankness and possibility. Beloved, Honore's second musical, goes even farther, layering death, AIDS and Sept. 11 among the merry melodies.

This stylish film is enormous fun, whirling and warbling across four decades of amour. But it stumbles a few times in its last half-hour and ultimately seems a little too frisky for the graver issues it addresses.

The words "inspired by true events" are the first things to appear on screen in Compliance, Craig Zobel's queasy thriller of discomfort. I knew that this was the case going in, and had heard the basic facts of the "strip-search prank-call scam" that serves as the movie's inspiration. But I didn't know the full details — and as an ever-increasing load of humiliation and indignity was piled on the teenage fast-food worker at its center, I found myself getting angry with the film, assuming that Zobel was amping up the severity of real events for dramatic effect.