Frank Scheck

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.