Dennis Harvey

Gyllenhaal, in her most substantial role since "Secretary," does a fine, unshowy job of limning Sherry's faults without alienating the viewer or pleading for sympathy.

Plays out in quite a different offscreen context than did last year's similarly themed sleeper "Startup.com."

Straightforward but skillfully nuanced ... There’s nothing wildly original in form or content to this modest tale. But it’s never obvious or melodramatic, delivering a satisfying degree of emotional resonance while providing James Badge Dale an arresting role as the problematic dad.

The richness of the tale told here makes this competently packaged feature a keeper nonetheless.

Tasmania-born Damien Power’s impressive first feature, Killing Ground, transcends the cliches even as the film uses plenty of familiar tropes, laying down a solid hour of effective buildup to a duly hair-raising, prolonged climax.

Its stripped-down approach to a familiar gist has a distinctiveness that is impressive, and is sure to please fans who are always up for a new slasher film — but wish most of them weren’t so interchangeable.

Riedelsheimer is well-matched to Goldsworthy’s methods and interests.

Performances are aptly quirky and ingratiating, Holdridge's seriocomic balance nicely judged. But the most outstanding element in an accomplished low-budget package is Robert Murphy's lensing, which recalls "Manhattan" in its B&W celebration of a cityscape.

An ensemble seriocomedy that's initially loose to a fault, but gradually wins one over with its shaggy charm -- and by the close has grown more ambitious, and poignant, than initial reels lead you to expect.

Hardcore feels like umpteen post-“Star Wars” action blockbusters trash-compacted into one — and whether that fundamentally appeals or not, the ingenuity of effort is undeniably high.

For the most part, pic’s sheer good-naturedness pulls off a not particularly inspired crusty-old-coot-thawed-by-young-scamp concept, maintaining an agreeable tonal balance despite occasional wobbles between spoof, sentimentality and silliness.

Despite its faltering touch with the story's darker, more melodramatic threads, Her Majesty nonetheless proves winning overall thanks to a predominant emphasis on nostalgia, whimsy (heroine's royal audience fantasies include one full-on production number) and droll-to-broad humor.

Works best as a straightforward appreciation of the music. Though docu's structure wears out full viewer interest after an hour or so, few will come away with staid prejudices (i.e. that turntablism isn't "real" musicianship) intact.

A romantic comedy that treads familiar "Green Card" terrain with considerable charm if no great style or originality.

Beyond finding a godsend in Gellner, Rehmeier gets good mileage from nearly the entire supporting cast. They grasp the slightly warped humor he’s aiming for here, hitting a suitable range of comedic notes from the deadpan to the broadly farcical.

Slick, ingratiating and high-spirited enough to win over gay men of all colors.

An unconventional, ultimately rather sweet buddy pic that’s an audiovisual treat.

Where Freeland is an unadulterated success is in capturing the physical, psychological and spiritual space Devi inhabits.

A sparely plotted, low-key but ultimately rewarding slice of South Dakota reservation life.

Not a film for cynics, It’s Not Yet Dark at times risks overplaying its heart-on-sleeve emotions, as Fitzmaurice also hazards in his writing. But both subject and execution here summon the skill, as well as sincerity, required to overcome skepticism.

Numerous lovely, quirky moments.

An Honest Liar is a highly entertaining portrait of James “the Amazing” Randi.

There’s no great effort at building tension, or orchestrating major setpieces. But the narrative moves along at an engaging clip, and there’s a pleasing emotional payoff to the way things ultimately come together in Farley’s screenplay.

Long, relatively low-key but always engaging, I Am Not Madame Bovary wears its expansive scale lightly.

A respectful, illuminating appreciation of a few of the estimated 13 million yogis in India.

Though T-Rex leaves some questions unaddressed, and ends with little resolution to protag’s various challenges, it’s compelling throughout.

A film whose charms are odd and indefinable by design.

The picture wobbles a bit before emerging a successful low-key satire of literary fraud and morbid personality cults.