Dennis Harvey

Gripping and discomfiting, this first directorial feature by the veteran editor is the kind of diaristic inquiry that can seem self-indulgent but here sports a fearlessness that transcends vanity — at times it’s downright unflattering.

With filmmakers Shosh Shlam and Hilla Medalia granted extraordinary access to one facility, they make for a bizarre and entertaining documentary.

Prows and company don’t simply play the often outrageous (and occasionally grisly) content for tasteless sensationalism, comic or otherwise. They treat it with an interesting, empathic yet slightly detached tone somewhere between the respectful and the droll.

This globe-trotting debut effort by helmer Aaron Yeger and his producing team offers a vivid mix of visual evidence, historical commentary and survivor testimonies. It’s less successful trying to integrate the struggles of today’s Roma, which merits a docu of its own.

It offers nothing particularly new, yet it fulfills the only requirement that really matters for this kind of movie — it’s scary.

Brand: A Second Coming is never dull, moving at a busy clip appropriate to its seemingly tireless globe-trotting protagonist.

This arresting seriocomedy deftly walks a tightrope between droll and tense, over a gaping pit of crazy.

It’s the rare horror film that’s actually more effective in psychological terms than in suspense ones.

The indictment of narcissistic online culture is still little more then an excuse for glam intrigue, and our not-infrequently-lethal anti-heroine’s motivations remain just as cloudy as they were last time. But a good time in enviable vacation spots is guaranteed, with ghoulish demises for many principal figures here served up like caviar on sashimi.

Delightful documentary A Cantor's Tale casts a fond eye back at the "golden age" of chazzanut (Jewish liturgical music) and its star performers in the Brooklyn of yesteryear.

This is a story with numerous stinging ironies, albeit one told in a refreshingly nuanced, non-hyperbolic fashion that pays off very nicely indeed.

Afforded a comparatively rare chance to stretch out in a complex lead role, Buscemi is excellent.

There’s a relaxed yet energetic comic rapport between players that suggests a good time was had by all.

This entertaining docu by "When We Were Kings'?" Leon Gast is more eccentric personality portrait than the in-depth scrutiny of celebrity-culture madness afforded by fellow Sundance preem "Teenage Paparazzo."

While the personalities spotlit here are easy to root for, what emerges is less an upbeat look at female enterprise than yet another case of corporate money and political mechanizations killing off community-based small businesses to further enrich their deep-pocketed, invasive new rivals. It’s an ultimately depressing trajectory, though the film itself remains engaging and well crafted.

Drawing on a rich array of archival materials, Tab Hunter Confidential is lively and entertaining.

While plot mechanics aren't wildly imaginative, pic nonetheless delivers requisite jolts in an above-average package.

Lazin has without question skillfully assembled an entertaining, strongly narrative nonfiction package.

Brisk and ingratiating, with some brief animated sequences adding color, this is an easy watch despite the frequently incendiary nature of its subject’s barbed images.

An adept if necessarily limited translation of uncinematic material, The Guys retains the potency of its stage original as a poignant, ingeniously simple tribute to firefighters lost in the World Trade Center disaster.

The Harbinger disappoints only in that it’s good enough to make you wish it were better — that it left an indelible impression rather than a slightly vague one.

At times Schimberg’s gambits feel too coy, their aim too dry despite the sensational hooks. But more often than not, the immediate impact is engagingly droll, and there’s no questioning the overall adventurousness, confidence and originality.

Eytan Fox delivers another involving tale in The Bubble.

Pacing is brisk, and performances and writing sharp enough to engage throughout.

It’s a nicely economical tale of supernatural vengeance that benefits from its small scale and lived-in atmospherics.

Pic can be taken as either inspirational or cautionary, but either way rivets attention on the efforts of both medical science and Conn herself to keep the little guy alive.

Recalls last year's "World's Greatest Dad," similarly using a snowballing fib to lampoon the ambulance-chasing relationship between morbidity and celebrity. But unlike that primarily satirical exercise, Norman gradually ditches the snark in favor of poignant, understated dramatics.

Affectionate spoof merits appreciation as a not-so-dumb salute to another era's ultra-dumb genre conventions.

The novel premise and otherwise nuanced performances are enough to hold attention.

Ultimately the performers are winning enough, and the ideas in the ambiguous story intriguing enough, to achieve an end result of successful middleweight charm and substance.

We get very little sense of her personal life... Nor do we get much insight into the evolution of her art, which looks fascinating in the glimpses afforded, but is viewed primarily in terms of community art therapy, rather than appreciated as an aesthetic end value in itself. Though these omissions frustrate a bit in retrospect, The Barefoot Artist is nonetheless an engrossing watch.

Those not particularly interested in the bands or era portrayed may find Salad Days a bit too much of a good thing. But they’re unlikely to be viewers anyway, and fans will find the documentary’s fast-paced but detail-oriented progress satisfying.

Casual, engaging documentary doesn't attempt a Hinduism 101 lesson, instead going for an impressionistic mix of on-the-fly spectacle and human interest.

Takes a beautifully lensed look at the work of Scottish "landscape sculptor" Andy Goldsworthy, whose unique creations -- composed of icicles, leaves, sticks, rocks, etc. -- are often as not simply swept away by the next tide or wind gust.

It’s a small, slyly humorous movie that nonetheless ends on a note of more dramatic substance than you’d expect.

The story is somewhat predictable in its beats, and arrives at a free-at-last conclusion that’s not entirely convincing. But the Sault Ste. Marie-shot film is ultimately ingratiating and slickly crafted enough to rise above those limitations.

Overall, this is a fun way to spend 100 minutes or so, warts and all.

A muscular exercise in brutal, relentless peril that should please genre fans.

This English-language production may not be among the most memorable period war films in recent years, but its straightforward, sometimes brutal progress and assured craftsmanship will more than satisfy audiences looking for something other than simple combat spectacle.

Benefiting from the very different but very appealing comedy styles of Woody Harrelson and Jesse Eisenberg even when the script's wit runs thin, this should be catnip to jaded genre fans.

Proving the “Paranormal Activity” formula can still work when used with canny restraint, Erickson achieves good results with long, eerie found-footage takes that end in jolts.

It’s another effective use of a simple premise and modest means to create a nicely nerve-jangling thriller.

A charmer whose lack of profane language or images renders it unexpectedly viable for general broadcast.

This is sci-fi cinema of a relatively subtle, intriguing stripe, without the usual emphasis on fantastical or action imagery. Still, it’s slickly engaging enough to please more open-minded genre fans, and brainy enough to attract those who want something other than another laser shoot ’em up.

Garcia, co-scenarist Jacques Fieschi and the excellent cast (including a welcome Dominique Sanda as Baptiste’s regal mother) bring a sense of depth and shared history to even those figures we meet just briefly.

The full warmth and idiosyncrasy of Chabon's original is missed in an adaptation that feels more impersonally observed. But Lawson's pic, (with the director making a left turn from prior feature "Dodgeball," which he says was a money gig undertaken to hasten this dream project) is entertaining and involving enough on its own terms.

Taken on its own confidently crafted terms, Jonathan is an intelligent, absorbing tale that provides an impressive showcase for “Baby Driver” star Ansel Elgort.

It’s compelling enough in its non-hyperbolic take on familiar genre elements, even if the depth of tragedy aimed for proves as much out of reach as any nerve-wracking suspense.

A satisfying wartime espionage drama focused on little-noted intersections between Arabic emigres and the French Resistance.

Delightful and ingenious as much of this is on a moment-to-moment basis, it becomes somewhat wearying over the long haul.

The late Chogyam Trungpa's very colorful life makes for a most engaging narrative here.

This black comedy thriller has a good cast to spark a scenario that’s intriguing enough to hold attention, if not quite clever enough to be a knockout.

Michael Mabbott and Lucah Rosenberg-Lee’s documentary “Any Other Way” combines archival materials, interviews and animated reenactments into a compelling investigation of an elusive life, as well as a talent so striking you’ll be amazed it remained forgotten for so long.

Artfully observed, it's content to let Linda be the sole, compelling focal point.

It does provide engrossing studies in human interest, as well as an empathetic look at the particular struggles of U.S. immigration in the new millennium.

Basically "Diner" in wading boots, it feels very familiar in conceit and unadventurous in execution, but offers the undeniable pleasures of a well-observed, well-played modest seriocomedy.

Annika Iltis and Timothy Kane’s debut feature documentary finds plenty of rooting interest and colorful characters in a competition whose willful perversity brings an inevitable, generous side helping of gallows humor.

The biggest single factor in making “Young Werther” an antic, pleasing gambit overall is English actor Booth. He channels a bit of the early Val Kilmer from “Top Secret!” and “Real Genius” in conjuring a hero who’s so nimble and amusing in his peacocking, we forgive him being his own biggest admirer.

While the subject remains something of an enigma offstage, this absorbing and deftly crafted documentary compels interest throughout.

Sensitive directorial bow by editor Wiebke von Carolsfeld and solid performances lend conviction if not quite distinction to the drama Marion Bridge.

It’s an involving, empathetic if one-sided portrait.

Skiptrace remains lively, diverting, and essentially good-natured even when it’s cheerfully dumb, exploiting its diverse locations for every last drop of local color.

Within its bounds, Q Ball offers proof that rehabilitative programs like this one offer more than just a chance for prisoners to show athletic excellence; they also provide an opportunity for individual growth.

There’s no revelatory takeaway here, but this entertaining mix of anecdotal evidence, academic research and current affairs is a diverting survey.

Combined with hilarious physical business and perfectly overearnest delivery of pseudocool lines like, "Let your fingers do the rocking!," he (Black) pretty much single-handedly keeps the formulaic progress funny.

First-rate talent and a uniquely dyspeptic mood separate this effort from more routine, populist stabs at tasteless yukkage.

In terms of sheer, punchy physical vigor, Headshot is a knockout.

Engrossing pic is impressively shot, edited and scored.

Not-quite-horror despite its macabre theme and mood, this sophomore directorial feature for Ben Parker is a handsomely produced period thriller that delivers in terms of action and atmospherics, even if his somewhat convoluted story doesn’t maximally pay off.

Doing for the cheesier Ross Hunter-style bigscreen soaps of the early/mid-'60s what "Far From Heaven" did for the plush Douglas Sirk melodramas of a decade earlier -- albeit with tongue planted much further in cheek -- writer/star Charles Busch's Die Mommie Die! is an enjoyable genre homage-cum-parody.

Psychotronic cinema fans may wish Queen of the Deuce spent more time on her celluloid stomping ground, and a bit less on family ties. Still, she did have a fascinating backstory, and surviving relatives’ (as well as some colleagues’) reminiscences are colorful.

A most enjoyable flashback. Laura Archibald's documentary about Ground Zero for the 1960s folk explosion -- and its enormous influence on the shape of rock music to come -- isn't assembled in a particularly distinctive manner, but the materials and voices culled offer more than enough reward in themselves.

David Gregory’s documentary won’t convince most viewers that the resulting flood of opportunistic cheapies are worth more extensive investigation. But they’re certainly cheesy fun in excerpt, and interviews with surviving participants provide an entertaining window into an anything-goes heyday for Hong Kong cinema.

Ably filmed by veteran stage producer-director Rowan Joseph, Bradley Rand Smith's theatrical script provides a bravura thespian workout for Ben McKenzie.

What makes Luke Meyer’s documentary interesting isn’t so much the music or even the incipient stardom, but rather the push-pull between high-stakes biz pressure and subjects who — being 13 years old or so — hardly have the attention spans for the drudgery and minutiae a “career” requires.

While the overall feel is a bit derivative and contrived, there are nonetheless plenty of bitingly sharp lines and performance moments to keep this well-cast ensemble piece percolating along.

A sturdy recap of the titular organization’s short, tumultuous history.

Visceral and engrossing.

It goes down as easy as a cherry Coke.

Under the Boardwalk provides an amiable overview of one very famous board game's history and impact, alongside a moderately engaging portrait of players preparing for the 2009 World Monopoly Championship.

A very entertaining recap that grows more disturbing as it wades into the dysfunctional behavior that doomed the show.

You might hesitate to call a film this fixated on child terror, adult perversity and sadistic violence “good,” exactly. But there’s no question director Scott Jeffrey casts a skillfully disturbed spell over a tale that emerges a cross between “It” and the original “Texas Chain Saw Massacre.”

If your sense of humor favors stupid ideas done smartly, however, Butt Boy offers pleasures that aren’t even all that guilt-inducing.

A feel-good comic ensembler that's hard to resist.

Rouses excitement mostly from stuntwork and thesp agility rather than CGI excess.

Succeeds as light entertainment -- even if at the cost of the material's greater potential.

A handsome package whose atmospherics outclass merely serviceable plot and character elements.

Very striking stylistic control is exerted in this absorbing if overlong tale of angst-ridden high school competitors.

There’s a lot of excellent atmospherics here that are more unsettling than the actual violence, which in turn is all the more effective for largely being kept just off-screen.

Force of personality and terrific vintage performance clips make a keeper of Anita O'Day: The Life of a Jazz Singer.

Extra Ordinary is a kind of tea-cosy “Ghostbusters” that’s consistently funny in a pleasingly off-kilter way.

Progress does a remarkable job weaving together these and many other big ideas in a crisp, coherent, easy-to-take fashion that somehow never becomes an informational overload.

Consistently engaging due to the wealth of generally unfamiliar archival footage, which reveals social trends, sweeping overview should provoke healthy debate.

Winningly unpretentious tale uses a wispy romantic narrative as a vehicle for attractive original tunes.

Chilling, often moving docudrama focuses not so much on the mayhem or murderer, but on the bewildered, occasionally courageous reactions of ordinary citizens caught in the inexplicable violence.

A horror comedy much closer to the actor-riffing drollery of Edgar Wright and Christopher Guest than "Scary Movie"-style splatstick, Rosencrantz & Guildenstern Are Undead is one sly slice of the ridiculous.

An engaging and sympathetic documentary.

At first a little tabloid in tenor and editorial style, pic soon distances itself from the myriad court TV shows with a fine balance of everyday detail and verite drama.