Chris Packham

Writer-director Stephen Belber's inspiriting, generous Match is so good that it's like some kind of trick.

Through photos and family lore, but mostly through Dayton's own eloquence, Mitchell assembles a biographical portrait that's inspiring in the best possible way.

Despite the high stakes, Command and Control is morbidly fun to watch, in the manner of good suspense thrillers and disaster films.

Brian Knappenberger's The Internet's Own Boy: The Story of Aaron Swartz connects the dots of Swartz's past, assembling a vivid portrait of a sensitive genius with a strong moral sense.

This Lincoln, stunningly portrayed by Spielberg and Day-Lewis, is real and relatable and so, so cool.

The loose structure is bound by a thread of motherhood. Sonia’s children, two daughters and a son, are lively, intelligent, and deeply affected by their parents’ trauma.

The film's sweetness, its story line, and the script's cartoony characters recall Raising Arizona, though Gone Doggy Gone isn't as tightly structured. But, being looser, it has a little more room to breathe.

The film is wallpapered with beatings, shootings and bloodshed, so its genuine sensitivity to trans issues is welcome and surprising.

Director Nabil Ayouch depicts the sprawling, ramshackle Sidi Moumen slums with fluid camera movements... He finds the humanity and the hopelessness in its narrow streets, its fields of rubble, monstrous trash dumps, and grim marketplaces.

As a writer, Kornbluth is vivid, funny and skilled at conveying characters, qualities he actually matches in performance.

In this stylish documentary, Cattelan talks effusively on camera about his career, his work, and his private life in unexpectedly candid interviews.

Famous for his war photography, McCullin's gift is his sensitivity, a capacity to feel the pain of other people that informs both the images he produced and the ones he refused to take.

Though set at a specific moment in time, the film could be about terminal cancer patients or condemned prisoners, a deeply felt catalog of the behaviors of men who know they’re about to die.

Jones presents a stark picture of a bifurcated economic system: the real one, in which ordinary citizens struggle; and the financial economy, in which the livelihoods of citizens are leveraged by the wealthy for speculative bets.

The film quietly reveals these four small stories as epically heroic and timeless journeys.

Finnigan wisely seizes on the gentle strength and charisma of Hawking's first wife, Jane Wilde. She imprints on the film as fully as her former husband.

Rackstraw Downes: A Painter is glacial and mesmerizing, the documentary equivalent of droning Tibetan singing bowls, a work crafted to induce its audience into the same contemplative state as its subject at work.

Martemucci intertwines these stories gracefully, and with the charm and charisma of her cast, makes clever banter and script contrivances seem completely natural and unaffected.

Burton scales his finale down to the size of a tourist boardwalk for an unexpectedly gripping crowd-pleaser of an action scene.

With its interrogations of gender, feminism, and marriage, Shakespeare's comedy is an apt vehicle for Whedon's own storytelling agenda.

[A] small, gentle coming-of-age story, exceedingly well-cast.

The film is also faithful to the smartassery of the Spider-Man of the comics, and Garfield's spindly physicality evokes the Marvel illustrations of the 1960s.

Sincere and unexpectedly good.

Though visually expansive, however, the film feels emotionally intimate.

[A] quiet, somber film.

The director's native warmth and sympathy are extended here to the store and the personalities that made it a billion-dollar, globe-bestriding colossus.

The narrative hinges at every turn on moments of human connection, scary confrontations other films would resolve with violence finding unexpected (and probably unlikely) detours into humor and empathy.

Fed Up is a workmanlike documentary, as undistinguished in style as a PowerPoint slide show. It nonetheless finds traction in its depiction of the food industry's Montgomery Burns–like practices.