Elizabeth Weitzman

It's the next best thing to being front and center.

Takashi is a master of the jagged quick cut and the shocker finish, and his head-spinning story is pumped up with almost more bravado than a single screen can handle.

Travels so deeply into the confusions of female adolescence that you'd never know this deceptively languid British film was directed by a Polish-born man.

The Invisibles is a powerful testament to the remarkable courage of those forced into heroism, and to the exceptional strength of those who chose it freely.

One of the most delightful movies to come along this year.

The town's entrenched racism is impossible to ignore, but the efforts toward change make a compelling history.

The actors seem exhilarated.

Overly polished, but deeply affecting, documentary.

Unapologetically graphic and slightly marred by an artistic awkwardness, this is a rare and worthwhile glimpse into another nation's historical legend.

A thoroughly entertaining animated comedy that's sweet enough for the youngest moviegoers, and smart enough for the most cynical chaperone.

Deftly composed of many small moments, this gentle Israeli film skirts politics to portray a family that is blessedly normal in its internal chaos.

In a feat of truly impressive cinematic finesse, Hendricks manages to capture every possible angle, from below a soaring motorcycle to atop a speeding luger's helmet.

Although we never feel any true connection to the enigmatic actress, there's no denying the inventiveness of Kon's homage to the possibilities of cinema.

It is an excruciating experience. But then, it would have to be. We're watching the distilled essence of war.

Alex Gibney's forceful documentary starts with a single tragedy: the torture of an Afghani prisoner at Bagram Air Base. By the time it's over, he's broadened his focus into a documentary so damning of the U.S. government, it's hard to believe he even got it made.

Fans are, obviously, most likely to appreciate the concert footage that's woven throughout the film. But the most powerful moments come offstage, when we see young audience members burn with the fresh outrage of the newly enlightened.

Anyone who laments the loss of an older, grittier New York ought to adore this affectionate portrait of Greenwich Village restaurant owner Kenny Shopsin.

Smart, spiky comedy upends every traditional notion of love, sex and family.

Though he doesn't break any new documentary ground, Lee knows how to shoot his subjects. Their stories are moving, and their moves are thrilling.

Both enchantingly old-fashioned and daringly modern.

By turns funny, touching and genuinely inspiring.

A poignant, deeply ­intimate history of one family.

From folk festivals to political rallies, Masud never overlooks the cultural and emotional elements of a country at a crossroads.

The sort of independent-film project that could have been disastrous in less-skilled hands. But Freeman's direction is so deft and the performances so natural that her remarkable experiment ends up feeling more realistic than most documentaries.

A fascinating exploration of the mysteries of the artist's life.

Though Army officials vigorously defend the school, after watching so many grim interviews with victims of the school's alumni, agreeing with Smihula's skepticism is finally unavoidable.

Unlike most inner-city stories that come out of Hollywood, this feels like the real thing.

It's not a pretty picture, but it sure is a compelling one.

This is a thoughtful and enlightening documentary about artistic censorship and free speech.

The always reliable Kingsley and Shaw are hilarious, and if the movie isn't quite a triumph, it's still far better than the junk food currently cluttering movie screens.

Though the film does have the modest, human-interest feel of a "60 Minutes" segment, it grows stronger as it goes along.

Note: We're giving this one 4 stars if you're under 12; 2-1/2 stars if you're not...That unwieldy name should give you some sense of Disney's intentions: this is, plain and simple, a consolation prize for all the frustrated fans who couldn't get tickets to Cyrus' sold-out stadium tour last year.

Unlike so many indie films, Michael Kang's gently empathetic debut embraces eccentricity without drowning in its own hip irony.

Frustratingly, though, and not a little ironically, Justman chooses to focus on the new stars when they sing, rather than on the Funk Brothers playing in the background. Just as curiously, he paints a remarkably rosy picture of the old days, overlooking the racism and exploitation the Brothers surely experienced.

Her story (Ganatra) -- and the rest of the gifted, multicultural cast that brings it to life -- represents another step in the evolving face of film.

Winterbottom informs us that, though fictional, his story represents thousands of real lives, and there is a hardly a false note, which makes this both a difficult and exceedingly memorable film to watch.

Both a witty ode to and a poignant lament for the choices we make.

Even as Lau's intentions are to nudge us back into real life, the images flickering on screen continue to hold us rapt.

Manages to tackle some serious issues without sacrificing its inherently sweet nature.

Denis' slow, deliberate style shuns typical suspense techniques, relying instead on something far more effective: a stunning performance by Testud.

At moments, the story skirts uncomfortably close to the grotesque. But this atmospheric oddity delivers a surprisingly sensitive take on the overwhelming ache of loneliness.

Though the film is as long as the escape route, Richter's brisk direction keeps us riveted through the suspenseful finish of his vivid history lesson.

Heated speeches about the International Monetary Fund, debt relief and global responsibility may not sound like your idea of Friday-night entertainment, but Sissako makes a strong case.

There are a few fight scenes, but they're as unshowy as the rest of this restrained film. If your warrior ideal is Uma Thurman in "Kill Bill," you may not have the patience this gentle story demands of its viewers.

Unlike most indie directors dealing with this sort of material, Maggio refuses to wallow in the romance of either misery or redemption. Instead, he hangs everything on the honesty of his lead, unknown actor Jordan -- who is so good that if there's any justice, he won't remain unknown for long.

Still witty and eloquent, these cerebral boys became the haunted men who do their best to share their experiences with us, even as they know we'll never truly understand.

Seen through Demy's eyes (and Raoul Coutard's shimmering black-and-white photography), their extravagance is so effortlessly cool, you feel somehow lucky just to be there with them.

Terrifically sneaky psychological thriller, which takes great pleasure in watching carefully constructed family values come tumbling down.

A lovely, almost painfully intimate story of female bonding that never panders to its characters or its audience.

As befits a production of impeccable French pedigree, the acting, set design and lush cinematography are all outstanding. But the story is told so slowly.

Hard to watch but important to see.

Clever, slightly edgy fun.

The film is structured so we come away with two competing, and yet complementary, impressions. First, that our political system has become infected with a rampant and deadly corruption that has spread out of control. And second, that there is a communal cure.

Although Voyages is mapped with anguish and fear, director Emmanuel Finkiel's characters are survivors, and he never lets us forget it.

Though younger fans of Cameron's 1997 blockbuster may be a little disappointed at the lack of, well, Leo, Cameron persuades us to share his obsession with the ship's history.

And oh, what stories these heroes have to tell - and what incredible sights they brought back with them.

If her (Noujaim's) movie teaches us anything, it's that no reality remains unspun.

With a respectfully committed cast, gorgeous scenery and two sad-eyed leads that will break your heart (the kid and the dog are equally adorable), this is clearly not your typical family film. Which will make it that much more appealing to every member of your family.

The charismatic young women who populate Daniel Peddle's illuminating documentary are vibrant proof that there's still an untold story waiting around every New York City corner.

Genuinely entertaining and, thanks to a well of self-deluded quotes from the men, shockingly funny.

The title might as well refer to the viewer who tags along on Louis' often-silent journey from solitude to some tentative form of family. Some will consider the experience insurmountably frustrating; others will find it exhilarating.

Despite the obvious cultural differences, what we come away with is a surprising sense of familiarity. Not even the widest political chasms, Gordon finds, can eradicate the universal pleasure of a young girl's giggle.

Kudlácek's primary focus, however, is on Deren's work, which means we don't learn enough about her complex, fascinating personality. On the other hand, she's offering a too-rare opportunity to see substantial portions of Deren's seminal films.

Both compelling and disturbing, this tragicomic documentary follows five dreamers as they pursue romance.

A vanity project so preposterous it deserves to become an instant camp hit.