Bill Weber

A sibling drama of unsentimental urban grit and swooning lyricism, Nénette and Boni meditates on the myriad permutations of love and sensuality, from familial longings to food fetishes.

A direct-cinema document of the Cairo protests that toppled Mubarak, Stefano Savona's film doesn't pretend that Egypt's resolution has yet won a lasting victory.

Von Trier and his three cinematographers fashioned a handmade, retro pastiche with a small, dried-out heart.

Fast on its feet, using 3D and motion-capture animation to kick its comedy-adventure into a superhuman gear, Steven Spielberg's The Adventures of Tintin is a wittily kineticized adaptation of the internationally loved comic books.

This bio-documentary of a New Left godfather presents a formidable character simpatico with today's zeitgeist in his championing of "spontaneous uprising."

Ultimately comes off as curiously anecdotal, lacking the dramatic dynamism that could give Marcel Pagnol's tale new life.

The layered, character-driven drama may subvert expectations of a sunny Venetian noir, but observes its five principal characters with a probing, egalitarian eye.

A bubbly 90-year-old mascot from the golden days of the American musical, this doc's subject is certainly larger than the conventional testimonial treatment she's given.

A righteously outraged documentary targeting the "warm and fuzzy" iconography of the breast cancer fundraising bureaucracy and its camouflage of corporate priorities.

Confronting the concept of alienness in a California desert town, this modest tapestry finds equivalent dignity in history-conscious travelers and natives weighed down by roots or inertia.

Re-employing the tools of Jacques Tati and Jerry Lewis, this pleasant fable reclaims artful slapstick with a bliss that's hard to deny.

Though its ballast of jokes and spectacle are formidable, it often lurches about at a remote, enigmatic distance

A dry dream of postmenopausal-male sexual lethargy, this comedy's least musty ideas are among its worst.

In a character study of an ex-con who gives her heart and mind to animals rather than people, Melissa Leo's risky performance is ultimately framed with a disappointing, distanced pity.

The sizzle of the bon mot-tossing ensemble, intact from the stage original, is bracing and fuels the film’s momentum, along with Crowley’s lacerating dialogue.

A documentary of bareknuckle fights among feuding Irish Traveller clans can't give the participants' self-perpetuating, dead-end rivalry the scope of tragedy.

A Slovakian character study of a boy ambivalently caught between worlds that ultimately squanders its promise.

A night of reckoning by a hoodlum in his haunted former home is a more sober and remote Freudian farrago than one expects from Guy Maddin.

Recalling the ‘70s shaggy-dog stories of Makavejev, Ashby, and Schatzberg, Kusturica’s French-financed American venture deserved better than the neglect it suffered in the blockbuster age.

An ostensible Danish "Hangover" that more closely resembles "Two and a Half Men" with nudity and unexpurgated dick jokes.

Godfrey Reggio's symphony of pristine 4K images doesn't add up to one grand epiphany, but an intermittent cluster of small ones.

Goss's film carries its unique forms of narrative suspense, but her 16mm images imbue both the forbidding landscape and her characters' scientific aerie, though the observatory only dates from 1932, with a poetry of the seemingly eternal.

Alternately maudlin and snarky, Norman just doesn't risk enough, and can be consigned to the status of what the school drama geek would call "some contemporary, obscure, teen-angst thing."

Germain's bonhomie with the bistro regulars has the feel of a TV comedy pilot, which is more than can be said of the monologues he speaks to his cat, one on the inadequacies of the dictionary.

LisaGay Hamilton and Yolonda Ross play persuasively embody modern urban feminine strength, but they're eventually stranded in a recycled road movie.

Both brutal and sentimental, this Oscar-submitted Korean war drama offers up rusty tropes as telling ironies.

It reaches a peak of dramatic anguish in star Rachel Weisz's single moment of naked fury, rather than through the tenacity and compassion that define her crusading title character.

The ill use made of the stars' charms in this initially strained, then egregiously dopey mushfest can likely be credited to market-tested notions of modern popular romance.