Frank Scheck

It's Smith's eccentric oldster who is the film's driving force, and the 80-year-old actress doesn't disappoint.

Zlah H. Hamzeh's documentary is a powerful and timely portrait of the tensions that can be generated by immigration situations, especially in a post-Sept. 11 world.

That the film works to the degree that it does is largely due to the sensitive performances. Bonnaire delivers a beautifully modulated turn.

Alone proves a highly effective genre exercise.

You'll never play the titular parlor game again after watching Would You Rather, director David Guy Levy’s clever exercise in torture porn that manages to display as much restraint as genuine sickness.

Once the outlandish premise is established, there's little to enjoy in the increasing body count, leading you to wish that Mr. Peterson had simply murdered his victims in their sleep. That at least would have made for a blessedly shorter movie.

For those less interested in horticultural matters, however, this Dutch documentary is akin to, well, watching plants grow. The sort of film frequently described as "meditative," it produces a calming but ultimately soporific effect.

Cocote tells a relatively simple story in willfully obscure, opaque fashion. While the film features many intriguing elements and often proves visually stunning, it ultimately feels a trial to endure.

This fascinating show-business documentary brings its subject to life, warts and all, in a way that would no doubt have thoroughly pleased him.

A thorough knowledge of Israeli history and politics would be helpful for viewers, as Rabin in His Own Words is sometimes sketchy and scattershot in its narrative. But its subject emerges as a thoughtful and articulate chronicler, and the wealth of footage presented, including rare home movies, is consistently fascinating.

Well acted and smartly written, the film is an eye-opening sociological portrait that also manages to be a compelling human drama.

While Stanford is more annoying than endearing as the self-righteous slacker, the charming Deschanel provides the film with its few moments of genuine fun with her offbeat turn as the wily, put-upon girlfriend.

Many of the film's most entertaining moments are, ironically, its most peripheral: Namely, the extensive archival clips of news conferences in which an alternately relaxed and tense Kennedy jostled with journalists

The devastating effects of head injuries in sports are detailed in Steve James' wrenching documentary.

While plenty of information is imparted in the impassioned proceedings, the film loses some impact because of its lack of a compelling structure.

Infusing her portrayal with equal measures of steeliness, vulnerability, sexiness and sly humor, Dhavernas bares herself both physically and soulfully in a magnetic performance that anchors the film.

Instantly proves itself an invaluable historical document. Shot verite-style with no narration, soundtrack or other embellishments, Tahrir: Liberation Square simply depicts the events of late January and early February 2011 with a vital immediacy.

Provides a compelling history of a company that created a groundbreaking product that was unfortunately ahead of its time.

Q Ball delivers a stirring and moving portrait of a program that provides inmates an opportunity to channel their energy in non-violent fashion.

With a lesser actor, East of the Mountains could have come across as tedious or maudlin, or both. Instead, Skerritt delivers a performance of such understated eloquence and dignity that it emerges as a quiet gem.

Spike Lee's first feature-length documentary is an uncharacteristically restrained effort by this major filmmaker, lacking the intense style and outlandishness of much of his earlier work. But it tells a powerful story simply and movingly and thus serves as an important cinematic document of one of the most heinous crimes of the civil rights era: the 1963 Birmingham, Ala., church bombing that resulted in the deaths of four young children. [11 July 1997]

Despite its flaws and unevenness, White Reindeer at least deserves points for not providing another sugarplum-infused view of Christmas.

The film is a proudly over-the-top, entertaining musical comedy extravaganza.

This Divided State will become yet one more largely forgotten cinematic footnote to an election notable for its divisiveness.

Director-writer Chris Paine's upbeat follow-up to his controversial 2006 documentary "Who Killed the Electric Car" features a number of colorful industry leaders in addition to cameos by Arnold Schwarzenegger and Jon Favreau.

While the rough-hewn filmmaking occasionally reveals Rapman's lack of experience working with a larger cinematic canvas, Blue Story boasts an immediacy and energy that perfectly suit the material.

A worthy addition to the ever-growing canon of Holocaust-related films.

By the time Left on Purpose reaches its conclusion, it has delivered a powerful examination of the debilitating effect of clinical depression and raised disturbing questions about the right to take one's own life.

Dear Jassi has the feel of a timeless folktale, made all the more unbearably sad because of its basis in fact.

A slow-paced and often confusingly plotted crime drama that never lives up to the delicious potential of its premise.

Lead actors Cole and Latimore are competent enough, but they don’t come close to approximating the original film’s stars’ charisma or likability, with the result that their characters’ ill-advised activities leave a sour taste. This is one party you can’t wait to be over.

The result isn't particularly mesmerizing, but it does offer a well-rounded portrait that will be of particular interest to photography lovers.

While much of what is said here has been recounted in previous forums -- the special Sept. 11 episode of TV's "Third Watch" being a prime example -- the redundancy doesn't deprive the commentary of its power.

Exploring the issue of whether being pro-life and pro-gun are mutually compatible, The Armor of Light puts a human face on the perpetually divisive topic.

Although obviously geared to the small fry who will no doubt eat it up, Teen Titans Go! To the Movies will provide many laughs for their adult chaperones as well.

Both informative and moving.

The sort of quirky independent comedy that strives for hipness but ultimately just feels contrived and derivative.

Above and Beyond pays well-deserved homage to these men who helped create the Israeli Air Force and ensured the survival of the burgeoning nation. It's a wonder that it took nearly seven decades for the story to be recounted in feature documentary form.

One of the film's most poignant moments occurs at the end, with a brief shot of Hesse's gravestone. It was designed, we're informed, by Sol LeWitt.

Shot over four years in Kenya, the film boasts an undeniable authenticity, thanks to its filmmakers' quarter-century of experience making wildlife films in Africa. And while elephants are naturally camera-friendly subjects, their behavior here is captured with a particularly impressive immediacy.

Despite its many engaging moments, Itzhak will likely prove frustrating for viewers desiring more information.

Few will be unmoved by this film's subjects, including the great niece of Herman Goering and the daughter of concentration camp commandant Amon Goeth, as they relate the heavy burdens stemming from their fateful lineage.

We're treated to generous excerpts from the finished product, which is all the more resonant for the moving profiles that have preceded it.

A rather unfocused but ultimately provocative portrait of Eastern Europe.

The expert cinematic stylization on display proves ample reason to forgive The Night for any narrative shortcomings.

Infusing its nightmarish scenario with bracing doses of satirical humor, Tunnel is smarter and more sophisticated than most Hollywood attempts at the genre.

Serving as a gentle reminder that enduring love is still possible, My Love, Don't Cross That River is practically the cinematic equivalent of marriage counseling.

Ultimately, it’s little more than a trifle that’s enlivened by the older Huston’s inevitably referential performance.

Filmmaker Leon Gast ("When We Were Kings") paints an entertaining portrait of the still-working 79-year-old photographer.

Diffuse and rambling at times, An Animated Life, which sometimes has the feel of a tribute film shown at an award gala, is not as compelling as such similarly themed docs as "Waking Sleeping Beauty" and "Frank and Ollie." But it nonetheless serves as an entertaining salute to an unsung figure whose considerable accomplishments well deserve recognition.

Rue plays her with just the right combination of sweetness, sexuality and sass.

Highly informative and likely to increase enrollment at film schools.

Informative if selective documentary will eventually find its natural home on the History Channel.

Few true-life stories are as inspiring as that of Darko Kralj, the subject of Dejan Acimovic's new documentary The King.

The filmmaker documents the proceedings in refreshingly matter-of fact-fashion, thankfully avoiding the temptation to overly sentimentalize or mine cheap humor and contrived suspense from the proceedings.

Although a bit too leisurely and featuring a few too many interminable group therapy scenes, the film nonetheless succeeds in packing considerable dramatic impact thanks to its incisive characterizations, realistic dialogue and well-drawn milieu.

While unlikely to change anyone's stances on the hot-button issue, the film emerges as a deeply moving portrait that makes palpably clear the desperation of women for whom attaining legal abortions is impossible.

Boy Meets Girl is a funny and touching comedy/drama boasting a superlative debut performance by Michelle Hendley.

It Had to Be You ultimately demonstrates enough cleverness and inventiveness to make it more than a by-the-book entry in a genre that's become more than a little stale.

The Sunshine Makers is an entertaining look at the days in which the phrase "Turn on, tune in, drop out" were words to live by.

To say it's unoriginal is an understatement. Nonetheless, Villain exerts a powerful pull, thanks both to the effective use of gritty East London locations and the terrific lead performance by Craig Fairbrass, displaying his intimidating physical presence and simmering, low-key charisma. The veteran actor keeps the film percolating despite its overfamiliar aspects.

Mitchell proves as interesting a figure as the downtrodden people he's dedicated to helping. More often seen shirtless or in a tank top and shorts than a judge's robe, he would certainly qualify for a "Sexiest Judges of Los Angeles" calendar should one ever be created.

Popstar is filled with the sort of sly jokes whose targets music fans should have no problem recognizing.

Considering that there seems to be no end in sight of the country's involvement in the Middle East, the film proves timely and affecting.

Imperium traffics in familiar undercover cop thriller conventions while gaining resonance from its disturbing, timely milieu.

Featuring an excellent performance by veteran British actress Sheila Hancock (The Boy in the Striped Pajamas), who is clearly up to both the challenging emotional and physical demands of the title role, Edie earns points for good intentions but never quite succeeds in managing to scale its thematic summit.

Active Measures delivers a well-researched and smartly laid-out cinematic thesis that connects the myriad dots in skillful fashion.

The sole laughs are scored by Robert Davi, amusingly playing it straight as a Muslim terrorist who wants to hire Malone to make a suicide bomber recruitment film.

To say that the storyline is cliched is giving it more credit than it deserves. But the film manages to succeed anyway, thanks largely to the quiet charisma and likeability of its physically imposing leading man who manages to hold his own even playing opposite the scene-stealing tykes.

Should be mandatory viewing for those interested in the dominant intersection between religion and politics.

Ultimately, Crime 101 feels too contrived and artificial to be convincing. But there’s plenty to appreciate along the way, especially the extensive cinematic craftsmanship that’s gone into it.

Suffers from the same occasionally heavy-handed style as its predecessors, it offers a credible indictment against the large corporations currently enjoying windfall profits thanks to the Iraq war.

The film doesn’t fully succeed in elucidating its complex issues. But the wide-spread problem it explores is clearly undeniable, and at the very least this rough-hewn but provocative documentary will hopefully inspire further discussion.

The sequel is certainly a stupendous achievement in terms of its animation, and clearly has great cultural resonance in its native country. But those looking for coherent storytelling or emotional depth will have to wait for the next Pixar offering (not that the company has been distinguishing itself lately).

What distinguishes it are its intelligent, unsentimental screenplay, which only occasionally lapses into emotional manipulation; the assured direction by Yukihiko Tsutsumi; and the superb acting.

A formulaic comedy that displays as much subtlety as its title.

Despite its missteps and occasional pretensions, Jeremiah Tower: The Last Magnificent provides a compelling portrait of the chef as tortured artist.

The opportunity to see the stunning footage on the big screen is not to be missed, and the narration by Daniel Craig, delivered with James Bond-style drollness, makes it as much fun to listen to as to watch.

The film, which feels attenuated despite its brief running time, doesn’t dig deep enough to provide more than an impressionistic portrait.

The film is an initially insightful portrait of modern corporate society that unfortunately lapses into melodrama.

At times, The Most Dangerous Year gets bogged down with its extensive footage of hearings about various bills and ballot initiatives that, however pertinent, inevitably come across with a C-SPAN dullness. But that's a minor quibble about this powerful documentary, which makes the valuable point that this is a civil rights issue and that the arguments being put forth about transgender people sound much like those promoting segregation decades ago.

Diluting its powerful themes with overcooked melodrama and unnecessarily distracting subplots, The Other Story would have benefited from a simpler, more direct approach.

[Yeoh] has such a commanding and darkly amusing screen presence that the pedestrian film can almost, but not quite, be forgiven for letting her down so completely.

Filmed in a gorgeous, dreamlike style and Infused with heavy doses of mysticism and allegory, The Vessel is an impressive effort that loses some of its impact, however, for being so derivative.

Despite the effective performances by its young lead performers, California Scheming mainly comes across as half-baked.

A richly uplifting if somewhat rambling portrait of indomitableness in the face of old age and infirmity, Been Rich All My Life will be inspirational to young and old alike.

Another highly entertaining portrait of attractive young Europeans looking for personal and professional fulfillment amidst gorgeous locations.

This is an affectionate portrait rather than a meaningful critical analysis.

This autobiographical tale of a 10-year-old boy coping with his mother's severe illness boasts terrific performances from its three leads -- Joe Pantoliano, Marcia Gay Harden and young Devon Gearhart.

An evocative examination of the clash between tradition and modernism in the handling of an age-old problem.

The bottom line: The impact of this forceful indictment of our healthcare system is lessened by the sheer ubiquity of similarly-themed documentaries.

Superbly conveys its themes of despair and lost opportunities.

Rosenwald is not always successful in doing full justice to its rich subject matter, suffering from pacing problems and occasionally feeling drawn-out in its feature-length running time.... But it certainly deserves kudos for bringing long overdue attention to this unsung figure whose life was one big mitzvah.

The comedy of errors surrounding the 11 years (and counting) efforts to rebuild the devastated Ground Zero site would be funny if it weren't so tragic. Filmmaker Richard Hankin manages to encompass both aspects in 16 Acres, his strikingly coherent documentary chronicling the tortured process.

Although diffuse at times, this documentary delivers a vibrant portrait of a fascinating subculture.

It's the hugely appealing White and Monroe who authoritatively carry the film, mining the material for all its pathos and humor and displaying the sort of chemistry more often aspired to than achieved in romantic films. They make it look easy, as do the talented filmmakers.

Gretel & Hansel may alienate some horror movie fans with its extremely leisurely pacing and emphasis on atmosphere and mood rather than visceral shocks. But while the film certainly demands patience, it provides ample rewards with its lush stylization.

For better or worse, Ant-Man and the Wasp: Quantumania is the most overtly sci-fi film in the series, and on that level, it succeeds very well.