Dennis Harvey

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.