Frank Scheck

Aida's Secrets unravels its complex scenario in compelling, page-turner mystery fashion, proving yet again that truth can be much stranger than fiction.

All the well-crafted effort has unfortunately been expended on a tired and overly familiar story that never registers as anything more than a compendium of horror-film clichés.

For all its effective atmospherics and performances, Don't Go has an inevitably familiar feel.

A deeply dispiriting portrait of the systemic persecution of the LGBT community in Uganda, the country that seems to be ground zero for homophobia.

Writer-director Kelker never establishes a consistent tone, eventually aiming for a tragic conclusion that feels hopelessly unearned.

Shines a much deserved spotlight on this unheralded artist.

Dealing with its potentially discomfiting subject matter with sensitivity, insight and humor, the pic marks an auspicious debut for its director-screenwriter, who also plays a supporting role.

Comprising seven individual films with a cumulative running time of more than 8 1/2 hours, Have You Heard From Johannesburg (the title comes from a Gil Scott-Heron song) naturally will find a more receptive home on television and home video, but New York's Film Forum, presenting it in three parts, is to be commended for giving the series its world theatrical premiere.

For all its fandom and self-indulgence, Dear Mr. Watterson does offer some insightful musings about the decline of comic strips in general, with their content ever shrinking due to the diminished state of the newspaper industry.

Refreshingly free of the tired human-interest personality profiles that afflict sports documentaries on both the big and small screens, director Eryk Rocha has created an impressionistic, visually stunning cinematic essay.

Gariépy, masterful in her emotional and physical exactness, is a revelation as the enigmatic Kelly-Anne, whose stringent control over herself and her environment masks a sick compulsion whose origins we can only guess at.

Serves to not only put a very human face on this horrific condition but also as a triumphant valedictory of Campbell's poignant farewell tour.

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

The resulting journey of self-discovery is not exactly profound in its revelations, but as usual with McElwee's efforts the proceedings are enlivened by his droll, witty narration, delivered in a sonorous tone.

The sort of lumbering epic drama that went out of fashion by the late 1960s, For Greater Glory is mainly notable for shedding light on a little-known historical conflict, namely the Cristero War that took place in 1920s Mexico.

It’s a compelling story told in largely engaging fashion, anchored by Dano’s terrific turn as the eccentric, strong-willed Gill, who becomes an unlikely folk hero.

Dolphin Reef benefits greatly from the gorgeous cinematography and canny editing typical of Disney nature docs as well as Portman's soothingly lighthearted, bedtime story-style narration that turns serious at just the right times.

In this enjoyable if trivial battle between von Trier's psychodrama theatricality and Leth's cool formalism, it's ultimately the viewer who comes out the winner.

This is a documentary about psychics that make you think Ouija boards might be a better investment.

The film’s computer-animated visuals, vividly rendering such locales as Cuba, Key West and the Everglades, are consistently arresting. But it’s the joyous musical numbers and sentimental but never treacly tale at its center that make Vivo such a winning effort.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

Celebration ultimately resembles more of a snapshot than a fleshed-out portrait, but it's one that's likely to linger in your memory for a long time afterwards.

A thoughtful and illuminating examination of a provocative subject.

The film doesn't really manage to sustain attention through its brief running time. But it is heartening to see that the filmmaker, now in his mid-80s, is as passionately engaged as ever.

Few films feel as cathartic as James Solomon's documentary The Witness.

Ra'anan Alexandroricz's documentary uses a simple framework - a starkly photographed series of interviews with nine retired judges and lawyers instrumental in administering the often arbitrary laws - to deliver a provocative examination of the nature of justice.

The film is an atmospheric and complex thriller that, while not quite living up to its thematic ambitions, more than sustains interest along the way.

The filmmaker's intent was obviously to concentrate on the specific incident and its aftermath, but personal details would probably have enhanced the overall emotional impact. Nonetheless, 16 Shots is a worthy addition to what has sadly become a proliferating documentary subgenre.

An inspirational film for cinephiles everywhere.

Rhett Reese and Paul Wernick, who have written much funnier scripts for the Zombieland and Deadpool films, are here working in uninspired mode. Balls Up loses comic steam the more it goes on, and although Wahlberg and Hauser have demonstrated solid comedic chops in the past, their laid-back underplaying fails to provide much juice.

A top-notch varied group of actors, no doubt attracted by the colorfulness of their roles, has been assembled, but their hardworking efforts are ultimately done in by the supremely pretentious nature of the material.

Grippingly depicting the ensuing tensions that constantly threaten to spill over into violence — even while raising discomfiting questions about the scope of First Amendment rights — the film is a nail-biter from start to finish.

It’s ultimately Rickards, who handles the intense physical and emotional demands of her role with consummate skill, that gives the film its heart and soul.

Predator: Killer of Killers provides the non-stop action that the diehard fans crave.

Bigger, badder, bolder, longer, and featuring nearly more spectacular set pieces than one movie can comfortably handle, this epic action film practically redefines the stakes.

Becoming Bulletproof is as enjoyable as it is inspiring.

The gorgeous and often forbidding scenery (there's a harrowing episode set in an underground lava tunnel) should provide a visual balm to those suffering the claustrophobic effects of quarantining. The terrific music score, featuring numerous contributions by The Avett Brothers, feels like a bonus.

The film is a remarkably insightful and powerful portrait of the human condition.

[A] small-scale but deeply moving documentary.

Powerful enough to make even the most cynical believe in the ability of ordinary people to induce political change.

The Man Who Saves the World? makes for both fun and thoughtful viewing.

This overly meta farce beats its mildly silly jokes so steadily into the ground that it’s not so much a case of diminishing returns as humor abuse.

The doc is as much a profile of its passionate central figure as an account of Brinton's importance to the history of cinema.

Achieves its goal of shining a spotlight on its subject while delivering a fascinating true-life tale.

Featuring enough stereotypical characterizations and situations to fuel a dozen artificial rom-coms, After the Ball pretty much drops the ball in every aspect.

The picture will naturally hold its biggest appeal for racing buffs but may also prove appealing to nonfans thanks to the moving story at its core.

Making his feature directorial debut (he's written such screenplays as Insurgent and Underwater), writer/director Duffield expertly handles the complex tonal shifts, keeping us on edge even as we're laughing. We're also thoroughly engrossed in the main characters' fates, thanks to the witty, perceptive dialogue and the two leads, who bring an unforced, charming naturalism to their performances.

Director-screenwriter Cregger displays an obvious perverse glee in guiding his audiences through his outlandish twists and turns.

Obviously, being a dog lover goes a long way toward one’s enjoyment of Arthur the King. But even if you’re not, you won’t be able to resist this canine thespian who manages to convey a world of information merely through barks. And he doesn’t even need those.

Providing important historical and sociological context, Hitler's Hollywood emerges as a compelling cinematic essay that should be essential viewing for cinephiles and history buffs alike.

Tickling Giants provides a comprehensive examination of Youssef’s career highs and lows while providing a vivid personal portrait of its subject whose cheerfulness and resolve began to wither in the face of constant threats to himself and his family.

Nonetheless, Island of the Hungry Ghosts casts an undeniably hypnotic spell. The documentary also serves as an important reminder that the United States is far from alone in mistreating its would-be immigrants.

A thoughtful, provocative effort that makes up for its narrative failings with its astute philosophical musings.

One of the more effective entries in what has essentially become a documentary subgenre, the film focuses on the surviving Green Berets who recall their experiences with a combination of pride and sorrow.

Its awkward title notwithstanding, Mugabe and the White African offers the sort of narrative drama rarely found in documentaries.

Remakes of '80s-era cult-favorite horror flicks seem to be all the rage these days. But they have to be better than this formulaic effort to replace the already not-so-great originals.

Astutely chronicling an amazing musical career that ended prematurely due to Parkinson's disease, the doc will delight the singer's old fans and likely make her many new ones as well.

The movie displays the measured pacing and tautness marking many of Eastwood's films, and Neeson delivers an Eastwood-style performance while also revealing an emotional vulnerability that proves fully relatable. It's easy to see how his distinctive combination of mature rugged masculinity and Irish soulfulness has made him a perfect action hero for these complicated times.

The result is that the slackly paced Echo Boomers has all the excitement of a feature-length essay in The Nation.

Ordinary World becomes raggedly enjoyable thanks to the unexpected charms of its leading man.

Revenge of the Mekons is a buoyant exploration of the musicians’ devotion to their art and each other.

As the documentary vividly illustrates, it's what's motivating that evangelical support that proves problematic.

The latest in a series of big-screen documentaries dealing with the conflict, and it does so in a particularly involving, fly-on-the-wall manner.

There's plenty of material here for a reasonably engrossing drama. Somehow, screenwriters Craig R. Welch and Greg Gerani fail to come up with anything remotely interesting.

Using a cinema verite style to explore this little-known subculture, the filmmaker presents a tender portrait of his subjects who have little place in their country's society.

Severely wasting the talents of Rosemary DeWitt, who really, really deserves better material, Arizona is as arid and barren as the state that provides its title.

The filmmaker, making his feature debut, also has more interesting things in mind, delivering a darker, more complex story that nonetheless proves utterly heartwarming by the end.

There's nary a believable moment, emotionally or otherwise, in No Postage Necessary, which also suffers from its overly treacly musical score composed by Closshey. The film bears as much relation to real life as cryptocurrency does to hard cash.

The film's chief asset is its superbly atmospheric evocation of its period milieu.

Feature debuts don't come more audacious than this effort by Gaspar Noe, a filmmaker in his mid-20s obviously determined to shock - and he achieves his goal. The difference is that he also displays real style and intelligence, and this brilliantly controlled effort marks the emergence of a true talent. [14 Sep 1998]

The film raises more troubling questions than it answers, but it's fascinating throughout nonetheless.

Presenting an evocative portrait of a now-bygone era in the city's past, The Last Resort delivers plenty of nostalgia as is spotlights the work of two photographers who captured the period with vivid immediacy.

A provocative portrait of an artist who seemed hell-bent on destroying his own legacy.

Takes a surprisingly gritty approach that gives the material some gravitas but also robs it of some of its fun.

For all the impressive ease with which the filmmaker handles her tyke star, Nana never quite manages to achieve the thematic resonance to which it aspires.

This subtly engrossing psychological thriller plays like an intellectual version of Fatal Attraction, minus the sex and the dead bunny. And that’s meant as a compliment.

Tedious, visually unsatisfying, poorly acted and narratively disjointed, Area 51 is a textbook example of directorial sophomore slump.

Benefiting greatly from its charismatic, likeable subjects, Night School displays a compassion and empathy that feels more necessary than ever.

It's a witty, beautifully observed and well-acted film that proves as engaging as it is boundary-shattering.

The director attempts to infuse the film with a dreamy poeticism via slow motion and other stylistic devices, with the results feeling mildly pretentious.

Life’s a Breeze is breezy, lighthearted fun.

Shot over the course of several years, Evolution of a Crime is often rough-hewn in its execution, but it's deeply moving nonetheless.

The director does an excellent job of setting a properly ominous mood, effectively delivering a procession of jump scares that succeed in keeping viewers on edge. Unfortunately, the screenplay by Tarryn-Tanille Prinsloo proves less effective, failing to deepen the characterizations or situations in sufficiently interesting fashion.

The film's saving grace are its fast pacing and generous doses of humor, the latter of which is mostly provided by Robert Patrick's sly delivery of the many wisecracks doled out by his villainous character.

This remake of a South Korean movie ultimately provides fewer scares than the average aging baby boomer feels every time they look into a reflective surface.

Despite the often insightful comments by the various cast members and Shepard himself -- the film doesn't dig very deeply into the artistic process of putting on a new play. But it does offer a fascinating fly-on-the-wall perspective.

It makes for compelling viewing, thanks to its fascinating subject matter and the charismatic central figure on ample display. The film certainly succeeds in its goal of rescuing Sebring from the relative anonymity of merely being one of the "others" killed in the grisly murders.

Although Cinevardaphoto is hardly a major work, it does represent the latest (and earlier) chapters in the career of a fascinating filmmaker.

An unusually poetic and meditative eco-themed documentary, Laura Dunn's The Unforeseen is as beautiful as it is ultimately depressing.

Club Life demonstrates that not everyone has a compelling story to tell.

Bezmozgis, whose previous feature was 2009's Victoria Day, is more assured as a writer than filmmaker, with Natasha featuring a bland visual and editing style. But he's elicited fine performances from the ensemble.

Whatever social commentary is intended in this cautionary tale, it is lost in the overall thematic murkiness, and the film is reduced to being a series of increasingly silly, ultra-violent episodes.

While The Storyteller hardly breaks any new ground in its Peter Pan-inspired tale, it boasts an undeniable sweetness that proves appealing amidst so many frenetic kids movies.

Along with his writing partner, actor Owen Wilson, who also plays (hilariously) a supporting role in the film, Anderson reveals himself to be a highly original comic talent, impressive both for his strongly controlled deadpan style and for providing a sense of emotional heft lacking in most mainstream film comedies.

There's a scattershot quality to the proceedings, presumably caused by the Canadian writer-director not living long enough to complete the doc. But the individual segments register powerfully and the underwater sequences are beautifully shot, providing ample compensation for the narrative choppiness.

A real-life thriller that rivals the most dramatic fiction in terms of emotional impact.

Although a bit too diffuse to fully realize its potential, the documentary is an evocative portrait of its subject.