Chris Klimek

This is an accessible, briskly paced documentary about a phenomenon that warrants exactly the level of investigation Hodges has given it here.

Code Black doesn’t suggest ways to improve health care in America, but it at least documents one of the most noble and necessary professions with insight and humility.

An important film despite some baffling presentational choices.

It’s clearly more interested in dissecting these characters than in solving the mystery of Matthew’s disappearance. That’s the advantage of casting actors like Collette and Church, who can lure viewers into a confident familiarity, then reveal something deeper.

With his thin-lipped, narrow-eyed, disquietingly symmetrical face, Mikkelsen is nearly as good a prop as he is an actor. That impassive but selectively expressive mug is what makes Age Of Uprising’s climax shocking and memorable, but not at all in the way viewers will be conditioned to expect.

A smart, sardonic, unpredictable morality play that gets the little things right.

Foulkes’ long-simmering anger over having not received his due doesn’t endear him to the art-world power brokers best positioned to help him, but it does make him an uncommonly forthcoming, unguarded interview.

Decoding Annie Parker is a better living-with-disease drama than medical mystery.

It’s a credit to Stockwell’s engrossing (though slightly schizophrenic) movie that it engenders sufficient curiosity to inspire viewers into seeking out non-fictional accounts of the story.

This is the disreputable, even disgusting diversion the Expendables pictures should've been.

Kent’s photography is so energetic, and the soundtrack is so sprightly—it features jagged tunes from beloved cult act The Feelies, as well as other, less familiar indie bands—that the thinness of the characterization slips by almost unnoticed.

Rarely has a life beyond the law seemed less enticing than it does in Babak Najafi’s bleak crime picture. It’s unrelentingly intense and utterly humorless, but there’s no denying the skill and brio with which it unspools.

While some of the workers' chitchat is translated via subtitles, long passages of it are not. Oreck's imagery of the forbidding Arctic landscape through its seasonal transformations (the movie covers roughly a year) is eloquent enough.

It's an absorbing document of an extraordinary act of generosity.