David D'Arcy

It’s raw religion, and it’s a treasure.

Linklater does connect you with the fun that he must have had in those days. If you can take the testosterone, you’ll have a good time.

A terrifying disaster thriller.

City of Ghosts shows us the power of media to bring the grim truth about life under ISIS to the world, even when under a death sentence. In keeping our eyes on Raqqa, it also reminds us of the limits of that power.

A documentary of stunning beauty and tragic violence.

This documentary reminds us that justice can be as elusive in the US suburbs as anywhere else, and that having guns keeps people who are born different from getting too close.

Tender without sentimentality, the doc by Ron Mann is as absorbing as it is understated.

For viewers who adjust to its deliberately slow rhythms, the reward is a vivid portrait of daily life in Kabul and a rich look into childhood from the perspective of children who have every reason to expect the worst.

The message of doom is mitigated by the comraderie of men and women determined to do good, but more so by the wondrous species of coral under threat.

In a bittersweet film like this, you wouldn’t call that magical, but you could call it real, as if the Dardennes came to Brooklyn, only funnier. That mood succeeds thanks to understated performances by Weinstein’s cast of mostly non-professionals, who seem to be working according to a life-script that they know well.

Dark Night is a drama of grim inevitability.

Censored Voices is a reminder that glorious myths of wars and the men who fight them wither under scrutiny, in Israel and everywhere else.

Like Cai, the doc is a crowd-pleaser which reveals its complexities in a careful viewing.

Spender...has made a rare kind of documentary – muscular and refined, and a splendour for the eyes.

There’s enough cinema in Among the Believers to set it a step above solid respectable investigation.

Theron will put to rest any doubts about her feel for comedy; the darker the better.... As Tully, Mackenzie Davis is radiant.

In a scant 72 minutes and in a few locations, Holmer has found a dignity in her appealing subjects, and a mystery.

Meyers’s drama depends mostly on what it doesn’t show you, and it works.

Magnus Carlsen, called the Mozart of chess, became world champion in 2013 at the age of 22. Benjamin Ree’s rousing documentary shows us how this taciturn prodigy got there, and how his family keeps him sane.

If the intimacy of small town existence is cherished here, there’s also an ominous sense of that same life being eroded and undermined.

Tickling Giants shows how a window of freedom and hope can unleash surges of creativity, like the improbable overnight success of a surgeon satirist.

The film’s look is as striking as Fan’s performance.

If tenderness is deployed to ease Shmuel’s grieving, those are not the scenes which give To Dust its special pungency, or what make you laugh. This film is at its best when it goes for the gut.

It’s a jolting race against time when the wave gathers steam far away, as implacable as the tsunami in Clint Eastwood’s Hereafter, minus the pop metaphysics .

The visual textures of The Lovers and the Despot, edited by Jim Hession — and the Kim audio tapes — make for vibrant cinema.

Cerebral and emotional, Tempestad is a road movie fuelled by the memories of unjust punishment. It’s a bumpy but illuminating ride.

Arab critics may lament that Israelis are telling their stories, but they won’t dispute the gritty reality on the screen.

Newtown, which focuses on the bereaved families, is about coming to terms with loss.