Bill Stamets

Focusing on Rumsfeld’s 2001-06 stint at the Pentagon, Morris scrutinizes his rhetoric and rationale for attacking Iraq and Afghanistan. Tactics and costs take a back seat to semantics.

Jim Jarmusch stocks his latest low-key indie with more than his usual characters in low-velocity drift. The Akron-born auteur infuses the title couple of Only Lovers Left Alive with his taste for culture, if not cuisine.

Gripping and at times agonizing.

[A] diverting documentary.

This late adulthood lark is a treat.

The Missing Picture is a wrenching yet tender memoir by Rithy Panh about life and death in the time of Pol Pot.

Non-narrative films can be opaque in deep ways. Visitors slips into pseudo-profundity. That said, I’d see it again.

May errs in styling this human interest saga.

Murmelstein answers his accusers in The Last of the Unjust. Over a compelling three hours and 38 minutes.

We get a parable of individualism and its perils for a turn-of-the-20th century woman, one proclaimed by a critic of her time “a revolt against nature: a woman genius.”

Like Father, Like Son is always wise about the quandary faced by the two fathers and the two mothers.

Director Philipp Kadelbach crafts a war drama cued to the ethics of the characters.

Tornatore’s ideas about art, trust and intimacy are curious, even if they do not quite click.

The Past is an understated study of two marriages in transition.

At Berkeley earns credit for documenting a distinctly articulate community.

Slocombe may not carve up his kin for Cold Turkey, but he serves a wry repast.

Grudge Match does not work on any level. The story is unconvincing. The comedy elements are weak... And, worst of all, the acting in most scenes — particularly those involving Sylvester Stallone and Kim Basinger — is atrocious.

Dhoom:3 entertains as a spectacle of chases, bank capers, magic acts and song-and-dance numbers.

Following the Ninth: In the Footsteps of Beethoven’s Final Symphony is one more bravo for the iconic masterpiece.

This buddy/road film builds tension with its missing person quest in a border-crossing underworld.

A diverting tutorial with this takeaway: “Let’s be puzzled about what seems obvious.”

Bastards is both visceral and visual.

A Touch of Sin is humanist critique of the country’s turn to capitalism.

Observant with mannered edits, Jem Cohen’s modest story delivers a character sketch and a traveler’s essay.

Set in England, the dystopic “Brazil” and “28 Days Later” both ended with pastoral idylls for adult couples. How I Live Now offers adolescents a lovely vision of holistic healing in the same countryside.

This saga of romance works with an unromantic style.

Lost for Words is directed with little originality by Stanley J. Orzel.

The ethical considerations of these physicians and their patients is the focus, not the pro-lifers and their death threats.