Frank Scheck

The film will eventually be a must-own video item for theater buffs.

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.

While most likely to appeal primarily to the comic's die-hard fans — and there are still plenty of them these days, thanks to his hugely popular podcast — Road Hard offers genuine laughs while displaying real heart along the way.

Running a brisk 75 minutes, this is one of those rare documentaries that feels too short. Some of its stories could have been more fleshed out, greater historical context could have been provided, and its use of such musical selections as Bob Dylan's "The Times They Are a-Changin'" and Cyndi Lauper's "True Colors" are beyond cliche. But these are small quibbles about a film that should be essential viewing in these times when intolerance is on the rise.

Hit man thrillers are a dime a dozen, but director Dru Brown's Aussie variation on the familiar genre takes some seriously clever, nasty turns.

Although the overlong film skirts with hagiography, at times feeling more like a promotional DVD extra than an objective account, it nonetheless has an undeniable emotional pull thanks to its fairy tale-like narrative.

The film, directed by Danny Gold, offers an alternately moving and amusing exercise in infectious nostalgia that should prove appealing even to viewers who weren't in the 1949 graduating class of DeWitt Clinton High School.

Depicting the struggles of three undocumented Bronx high school students to avoid deportation, From Nowhere resonates with tender compassion for its characters.

Although scattershot in its approach and relying a bit too heavily on cutesy animation, Orgasm Inc. is an eye-opening exposé.

All Things Must Pass approaches its sad subject with a well-balanced mixture of dispassion and sympathy.

[Paul's] warm personality and sense of humor are on ample display in this engaging documentary that makes a strong case for his influence and importance.

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.

The film presents a powerful portrait of displacement and environmental devastation stemming from corporate interests, but it ultimately leaves the viewer with more questions than answers.

If ultimately the highly talky Saraband comes across as a minor entry in the canon, it nonetheless marks a dignified farewell for one of cinema's greatest directors.

Life’s a Breeze is breezy, lighthearted fun.

Although the screenplay by Vizinberg and Lee Peterkin holds little in the way of surprises, it does offer a taut storyline and complex characterizations.

Nelly delivers a deliberately fragmentary, time-shifting portrait that is as provocative as it is sometimes frustrating. What anchors the proceedings is the lead performance of Mylene Mackay, whose star will definitely be on the rise after this sexy, galvanizing turn.

Meet the Patels is home movie-style filmmaking at its most boisterously entertaining.

Good Boy works well enough on its own terms, managing to sustain sufficient tension throughout the course of its smartly concise 73-minute running time.

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.

It’s all harmless fun, containing enough mild laughs and genuinely sweet moments (if you can contain your emotions during the reunion scene between Lyle and Hector, you’re made of stronger stuff than I am) to keep its target audiences entertained.

The film bears an undeniable stamp of authenticity in its depiction of the romantic crisis suffered by two twentysomethings in New York's ever picturesque Greenwich Village.

Although at times the film gets bogged down in psychological murkiness, the relentless pace and brooding charisma of its star overcomes its narrative deficiencies.

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.

Demonstrating that the apple doesn't fall far from the tree, the screenwriter-director has delivered a well-observed film boasting highly realistic performances and dialogue, if not plot elements. But it's Posey's fascinating portrayal of a thirtysomething Manhattan single woman looking for love that lifts the film above its "Sex and the City" predictabilities.

Although stronger on atmosphere than narrative clarity, its gorgeous visuals and sensuous evocation of the exotic setting render it a hauntingly poetic cinematic experience.

The ingeniously simple scenario concocted by director Roberts and his co-screenwriter Ernest Riera (they previously collaborated on the horror film The Other Side of the Door) provides the opportunity for genuine tension abetted by a series of jump scares that are no less effective for being predictable.

Many viewers will no doubt feel initially disdainful of John’s recklessly dangerous pursuits, but the film presents his inner struggles so empathetically that by the end all you feel is sadness for a life tragically lost.