Dennis Harvey

Too abstract and self-referential for the average action fan's comprehension. But buffs will be delighted by a package that finds the near-80-year-old helmer giddily tipping hat to the genre conventions, themes and over-the-top aesthetics that long since lent him mad-visionary status.

Whose Streets? is not a movie intended for those seeking an explanatory recap, let alone “balanced” analysis, of the original case itself. What it does offer, however, is a pulse-taking of one community’s response — variably constructive, occasionally chaotic — to perceived institutionalized abuse by law enforcement.

Despite occasional bad-taste outrageousness, overall tone is surprisingly sweet, even lyrical and romantic at times.

This film offers an engrossing mix of history, investigation and activism.

Suspenseful as the actual matches are, there’s more tension in worrying just how intact these near-adults will make it to the even bigger stakes of post-high-school life, or whether they’ll be hobbled before they even leave the gate.

What Away From Her achieves is quite admirable-- a low-key, intelligent setting for performances marked by those same qualities.

The considerable pleasure of Lynn Shelton’s latest “Sword of Trust” is that everyone onscreen is so good at this kind of [improv] work that one wishes more tightly scripted comedy screenplays had such savory dialogue, or inspired character conceptions.

Flavorful yet brisk like the book, Life of Crime loses some of its source material’s character development as well as a few minor narrative pieces (the dialogue remains nearly all Leonard’s), but the excellent casting fills in any resulting gaps well enough.

No doubt inspired to some degree by "Super Size Me," this equally engaging, slightly better-crafted documentary deftly balances humor and insight.

Sorta doing for "Texas Chainsaw Massacre"-type slashers what "Shaun of the Dead" did for zombie pics, "T&D" offers good-natured, confidently executed splatstick whose frequent hilarity suffers only from peaking too early.

Silver (“Who is Dayani Cristal?”) keeps the focus outside the courtroom primarily on Davis’ parents, who see prosecution as their only hope of some closure in losing their only child. Their grief, bafflement and attempt to maintain some hope in the justice system lends 3 1/2 Minutes considerable poignancy.

While the competent filmmaking package lacks much of its own personality, the sheer fascinating strangeness of the people documented could earn the picture a minor cult following a la "Grey Gardens."

This now-obscure historical chapter can’t help but be silly in the retelling, and Lane surrenders whole to that silliness.

Chomko mitigates a fairly heavy narrative agenda with a great deal of humor, sometimes threatening to make things a little too seriocomic, but never quite crossing the line into pat dramedy.

The result is a useful mix of the pseudo-random and finely honed that refuses to hand-wring over Clem’s travails, yet simultaneously makes an upbeat case for her emerging from them intact — even if she’ll never exactly be Miss Congeniality.

Compelling result is handled with enough dignified artistry to quell most fears of exploitation.

The obstacles against effectively protecting battered women and prosecuting their abusers are vividly illustrated in Private Violence.

This fever dream feels more derivative than distinctive, entertaining and eventful as it is. Still, it’s a well-cast, well-crafted stab at something offbeat.

Non-formulaic character interactions, a uniformly strong cast and deft handling by vet TV helmer Fabrice Cazaneuve render a refreshing take on youthful coming-out.

A decent political thriller set in Taiwan with the requisite Western-market-friendly lead and a determinedly pro-independence message embedded in a formulaic but diverting tale of intrigue and oppression.

A conventionally enjoyable making-and-breaking-of-the-band saga.

While the primal you-killed-my-family-now-I-kill-you story smacks of old Westerns (and newer Liam Neeson movies), the pic rises somewhat above formula due in large part to its being acted out in this particular historic cultural context. Depictions of pre-colonialist Maori life are rare enough onscreen, let alone in this kind of muscular genre effort.

Underwhelming finish explains zilch, but good performances, atmospherics and use of backwoods locations make Yellowbrickroad an intriguing cipher.

The differing responses Accidental Courtesy is likely to evoke in viewers make it a great conversation-starter for public and educational forums.

A straightforward, solidly crafted inspirational tale.

It's crude, sexist, ear-splittingly loud and a helluva lotta fun for anyone suffering from past or present testosterone overload.

While no doubt a more evenhanded documentary remains to be made on this issue, the Takatas’ effort is polished and convincing on its own terms.

Brightly packaged and steadily amusing.