Elizabeth Weitzman

"Dexter” fans will enjoy watching Michael C. Hall as a bumbling everyman terrified of violence. But there’s plenty more to appreciate within Jim Mickle’s gripping adaptation of Joe R. Lansdale’s pulp novel.

Definitely worth a chance: although everyone in this fog-shrouded setting makes grand sacrifices, all you'll lose are a few tears.

The 6-year-old I watched it with summed it up perfectly: “It starts out fun but then it’s kinda sad and scary. And sorta boring, too.”

Mikkelsen's unconventional features and intense talent lend a compelling edge to this expansive period piece.

Certainly has the look and feel of a masterpiece, but it's missing the emotional core that most moviegoers need.

Fans will want to replay the extensive archival footage over and over. Newcomers are more likely to pause halfway through, search out the superlative soundtrack, and immerse themselves in the music that inspired this rare, fall-and-rise story in the first place.

Zax’s gentle, fly-on-the-wall perspective keeps us primarily in the present, reminding us that all we need is right there inside the shop.

It's not so much good material as divinely inspired delivery.

Watch closely and you might even spy a better film inside, straining to break free.

The mystery is pretty low-key and the resolution somewhat disappointing. But Amalric is mesmerizing and the film’s taut, chilly tone leaves us unnerved.

Fans, of course, will fiercely argue that Buckley has so much more to offer. And in the strongest compliment to Berg’s affectionate portrait, she makes a similarly convincing case, with ample and tender grace.

Though Bowser uses old footage when possible, the absence of his subject -- who died tragically in 1976 -- is keenly felt.

That we watch the ticking moments of Where Is Kyra? with so much concern is a testament to the filmmakers and cast determined to elevate her unnoticed life.

For starters, it's a pleasure to see Matthew McConaughey - a gifted actor who can't hide his boredom in trivial work - finally settle into the role for which he was born.

Despite its desperate attempts to appeal to every possible age group, there is no obvious audience for this movie.

If last year’s searing old-age tragedy, “Amour” — or 2006’s bravely blunt “Away From Her” — weren’t digestible enough for you, perhaps this mild romance will suffice.

Yes, Friendship does feel in many ways like an expanded I Think You Should Leave sketch built on bizarro absurdism and a waterfall of exacerbating circumstances. To his credit, though, DeYoung – a TV director making his feature debut – does take advantage of the opportunity in some satisfying ways.

A natural crowd-pleaser, this year's big Sundance award winner is both overly familiar and surprisingly fresh.

The script is stocked with amusing one-liners, and there are just enough caustic observations to keep viewers nodding in agreement.

Geraghty relies too heavily on facial expressions and mannerisms, but those who appreciate visible effort may be seduced. There's no denying he works hard to keep us on the line.

This story doesn't go well with popcorn, and you won't be able to shake it off like so many blockbusters. That said, it's likely to be the most unforgettable film you see all summer.

Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they’re both so committed to seducing their audience, it’s a lot of fun watching them try.

Its straightforward approach is notably lacking the divine inspiration of its subject. But Don McGlynn's gospel documentary delivers so many moments of artistic ecstasy, we can forgive the plain wrapping.

Intermittent shots of actress Emmanuelle Seigner embodying the lyrics are surplus.

Narrated by Nicole Kidman, this poignant documentary tells only half the story of three Sudanese "lost boys" who emigrate to America. Though it doesn't delve as deep as it should, this movie will still break your heart.

A fascinating deconstruction of history, culture, and identity, No Ordinary Man raises so many crucial questions — and answers them so thoughtfully — that it moves beyond entertainment into the realm of essential text. It belongs, equally, in theaters, streaming queues, and classrooms.

No one will accuse The Ringer of being tasteful, but when you're not laughing, you may find yourself genuinely touched.

At first, Elie Wajeman’s moody French drama looks like so many other stories to come before it.