Dennis Harvey

Combines straightforward coming-of-age narrative with Maori mysticism to most engaging effect.

The fun momentum of Dope’s breakneck plotting and snappy dialogue easily overcome any momentary attack of earnestness.

On paper, it would hardly be expected to remain funny for eight minutes, let alone 108. But this ingeniously home-made lark never runs out of steam.

Avoiding rote inspirational notes as well as boyz-in-the-hood violence, scrupulously low-key drama nonetheless builds to a powerful impact.

A definitive document for anyone who’s ever hoisted the devil-horn fingers in metalhead solidarity.

Debuting helmer Walter assembles an aptly colorful package, with stylistic integration of elements from Johnson's delightful visual art. A major plus is the skittering percussion score by bebop jazz great Max Roach.

Mandy has so many enjoyably whacked-out elements, it comes as an actual surprise that Barry Manilow’s titular 1974 No. 1 hit is not among them.

A portrait of the artist emerges that’s complex, somewhat mysterious, but ultimately quite winning.

It’s hard to think of a prior chronicle quite so luridly indicting as American Pain.

It’s all absorbing stuff, amply conveying the magnetism of a conflicted leader who drew fanatical adoration, yet who one suspects wasn’t easy company (especially in tandem with Love).

Wilkerson's indictment is unapologetically agitprop. He sees Butte history as a testimony to "capitalist class" exploitation, corruption and environmental disaster.

With far-right nationalist ideologies suddenly a matter of pressing interest to almost everyone, the timing is regrettably ideal for Keep Quiet. This fascinating documentary by co-directors Joseph Martin and Sam Blair finds a stranger-than-fiction hook for probing that disturbing global trend.

Mixing hilarious standup footage with admiring if not exactly cuddlesome behind-the-scenes glimpses.

If this hour-long collage might fairly be summed up as little more than an inspired goof, of primary interest to cineastes, it’s nonetheless one whose giddy fun will hold up for such an audience through repeat viewings.

Beautifully evokes the enduring appeal of English singer-songwriter Nick Drake.

Accomplished in all its tech and design departments, Alone is easily the best of several recent hunted-woman-in-the-wilderness films, including fellow indies “Ravage” and “Range Runners” as well as the flashier French “Revenge.” It doesn’t necessarily need the structural gimmickry of onscreen “chapter” titles (“The Road,” “The Rain,” etc.), but that’s a minor quibble.

This Midsummer Night’s Dream actually works. It’s charming, funny and moderately sexy, with witty use of the disconnect between modern manners and melodious prose. And yes, the actors can speak the language — which, as many a movie has proven before, is never a given.

The Guest is blood-soaked action trash of a high grade.

Impresses with the originality of its observation, storytelling techniques and filmmaking style.

The result is a fresh mix of social satire and relationship dissection with a saving dollop of heart.

Its own mythology aside, this flamboyant, graphic and disturbing quasi-docu reenactment of a notorious chapter in U.S. counterculture life is a fascinating if peculiar accomplishment.

It's one of the best Broadway-tuner adaptations in recent years -- yes, arguably even better than those Oscar-winning ones.

"Mango” tells a story that could have been told many different ways. Still, the path chosen feels unique — not least for conveying some awful truths by means palatable even to the most skittish viewer. It’s a peek down a long, dark tunnel that’s nonetheless suffused throughout by the light at its end.

This solid both-sides-now overview also raises wider questions regarding humanity’s sometimes-hypocritical ethics toward what we eat, where we get it, and how.

As boisterous as it is sobering.

Daniel Hanna (“Miss Virginia”) and a strong cast, making for a satisfying scenic ride that picked up several festival audience awards last year.

Julian Higgins’ first feature can be taken as a drama with thriller elements or a low-key thriller with atypical dramatic nuance, working either way as a quietly effective balance between genre, social issue and character study elements.

Beyond its sheer, intense variety and ingenuity, Abreu’s animation remains so appealing throughout because it always feels handmade.