Frank Scheck

A valuable if fairly esoteric addition to the music documentary genre.

Donald Cries demonstrates that cringeworthy isn’t necessarily the same as funny.

From its desert landscapes to its principal setting of an architecturally distinguished house to its extremely photogenic lead actress, every frame of the psychological thriller proves visually stunning to behold. While the film never manages to achieve the level of suspense that would make it dramatically riveting, it certainly earns its art house credentials on a purely visceral level.

VFW ultimately lacks the cinematic flair to be truly memorable. But the pic succeeds on its own terms of being a nostalgic throwback to the days when such B-movies routinely opened on double and triple bills in urban grindhouses.

Might not boast stylistic expertise, but it should please aficionados while providing an entertaining primer for the uninitiated.

Lacks the cinematic panache to elevate it above the level of agitprop. But its all too relevant dissection of its subject is well worth paying attention to.

Best of all is Holm, who is consistently hilarious as the sarcastic shrink from hell.

There’s enough carnage and violent action on display to satisfy Predator fans whose cinematic bloodlust knows no bounds, and the dramatic change in milieu provides some much-needed freshness. Featuring a cast composed almost entirely of Native and First Nations actors, Prey has clearly taken pains to be as authentic as possible.

Informative and insightful for films buffs without sacrificing accessibility to the casual fan, "Cameraman" is essential viewing for anyone interested in film history.

The film makes it evident that Bartsch has been a seminal figure in a subculture that, despite her continuing efforts, has come to feel sadly diminished.

However stilted War Game may feel cinematically, it registers with full force as a realistic depiction of a nightmarish scenario that could easily occur just a few months from now.

Mainly notable for its exoticism and gorgeous scenery.

Despite the fine performances by leads Lena Headey (Game of Thrones), who has herself long been active in refugee causes, and Ivanno Jeremiah (AMC's Humans), The Flood lacks the narrative urgency needed to make watching it feel like more than a slog.

The ensemble cast -- ranging from an Oscar winner (De Niro) and faded action star (Seagal) to a B-movie vet (Fahey) and tabloid fodder (Lindsay Lohan, not exactly playing against type as a drugged-out, hell-raising sexpot) -- pretty much offers something for everybody.

The film offers enough astute insights and terrific interviews and performance footage to attract buffs while serving as a superb introduction for neophytes.

American Selfie inevitably feels a bit scattershot at times, no doubt due to the vagaries of Pelosi's travel schedule and her guerilla shooting approach. Some of the footage is revelatory, some feels overly familiar.

As for those over-the-top, extremely gory action sequences, they’re tremendously visceral, the eye-popping animation, propulsive musical score and deafening sound effects (there’s a reason Sony wants you to see the film, released in both Japanese and English-dubbed versions, in IMAX and other premium formats) delivering an enveloping, nearly psychedelic experience.

This low-rent frat house comedy is at once far more vulgar and decidedly less anarchic than its obvious inspiration and should flunk out of theaters before this year's crop of freshman students even finish unpacking their bags.

Carl Colby's deeply felt exploration of his father's life and career is as emotionally, as it is historically, intriguing, even if the filmmaker ultimately admits that he's never quite able to get to the bottom of his subject's enigmatic personality.

This moving documentary lends a very human face to its powerful environmental message.

Darker in tone but still extremely funny, the film, like so many of its animated brethren, falters when resorting to the frenetic action sequences seemingly designed for tykes’ short attention spans.

Botso is a deserving homage to a life well lived.

The cinematic clumsiness is a shame, because Equal Means Equal makes many powerful points along its diffuse, rambling way. Here is a case in which less would definitely have been more.

If it had skipped the clichéd supernatural elements to instead concentrate on the relationship between the two central characters, Don’t Knock Twice might have emerged as an interesting film.

Rough-hewn stylistically and occasionally bordering on self-indulgence, 32 Pills: My Sister’s Suicide nonetheless packs a powerful emotional punch with its unflinching portrait of two siblings dealing with past and present demons.

Unfortunately, Reinventing Rosalee, the new film about her directed by her daughter Lillian Glass, feels less like a documentary than the most elaborate Mother's Day present ever.

A fascinating if uneven portrait.

Lacking narration or graphics, the documentary employs a fly-on-the-wall approach that proves frustrating.