Craig D. Lindsey

No Date, No Signature presents a story of flawed but generally decent people trying to put right what went so horribly wrong.

Boom makes the case that the scene Basquiat came from was more fascinating than Basquiat himself. Even though many of the artists, admirers, and friends interviewed for this doc praise him and his gonzo genius, several of them suggest that he strived to be more of a rock star than a punk artist.

I guess that’s ultimately what Reed and Gunn wanted to provide: a view of African Americans that’s messy, complicated, dramatic, and, most important, honest. It’s also a fascinating artifact of black people getting together and making their own art — mainly because they wanted to see themselves properly represented onscreen.

As much of a nightmare Mom and Dad spins in turning parents into raving, homicidal lunatics, this movie also knows how hard it is for actual moms and dads to just get up every day and try to be good parents to these little muhfuckas.

I'm thankful No Greater Love is around to make people realize how much war heroes need our love, help and support once they come back home. Just telling them "thank you for your service" ain't gonna cut it.

Palansky had the good sense to let the performances elevate the material, never letting this turn into another cheesy, predictably twisty yarn.

Both Sharif and Ahmed make sure audiences leave Nowhere to Hide well aware that Iraq remains a war zone — one where innocent people remain caught in the crossfire.

It’s Not Yet Dark is an uplifting portrait of a debilitated man driven to excel by a relentless desire to live life and love those who surround him.

Blues is mostly a spirited, rambling trip through the history of this American music, but that journey is under the cloud of a melancholy bleakness.

Canadian documentarian Jamie Kastner (The Secret Disco Revolution) has crafted an entertainingly kitschy version of an Errol Morris film.

Directed with a muted tone but a scenic eye by Brit first-timer Stephen Fingleton, The Survivalist, like most postapocalyptic movies, is both dire and oddly poetic.

Just like high-wire showman Philippe Petit, Tower is a brilliant, dedicated artist who has spent most of his life wowing people with his talents — but is ultimately always out there by himself.

Tickling Giants comes off as both a fact-based look at fighting fire with funny and a prescient cautionary tale.

With Uwais choreographing the insane fights and Indonesian genre vets the Mo Brothers catching every bloody, manic minute, both fists and bullets get dished out with equal, frenetic fury — and the movie offers plenty of "Oh shit!" moments.

Oregon is more than a bittersweet look at a man deciding to end his life before he’s too invalid to have a say in the matter: It’s a study of how plain ol’ stubbornness can keep a family forever brimming with dysfunction.

National Bird shows that war will always be hell, even for those who aren’t on the battleground. Kennebeck directs with a cold, distant eye, almost giving her subjects the same treatment they gave all those poor souls they targeted.

It is fascinating seeing people come to a holy place — a place that's more about love and spirituality than religion — with their hearts and minds open, just looking for guidance. And whether you believe in God or not, isn't that what we all want?