Frank Scheck

This tale of domestic abuse breaks little new stylistic or psychological ground, but it is a searing, well-acted drama that should strike universal chords.

Adopting a decidedly younger spin toward its teenage heroes, the hugely entertaining and funny film seems destined to reinvigorate the franchise and attract plenty of nostalgic adults as well as young fans.

Consistently engrossing as well as informative, the film delivers a richly humanistic portrait of a complex, indefatigable figure who introduced multiple awestruck generations to the wonders beneath the sea.

The film makes its case methodically and persuasively.

An intriguing, offbeat surprise.

A feel-good tale with undeniably good intentions, this Canadian comedy-drama doesn't really manage to convince on any level.

For an event of such seismic social importance in the modern era, the 1969 Stonewall riots went shockingly undocumented. Almost no archival footage exists, which gives Kate Davis and David Heilbroner's documentary feature Stonewall Uprising the frustrating air of an oral history lesson. But it's a vitally important one nonetheless.

A fascinating examination of a mysterious life and the truly bizarre art that it spawned.

The result is a deeply intimate and revealing family portrait that proves admirable in its objectivity if occasionally frustrating in its sprawling sketchiness.

Chronicling the lives of the same six women survivors after the end of the war, After Auschwitz proves an inspiring testament to the indomitability of the human spirit.

While the original version's four hours might have made for wearisome viewing for Western audiences, Herzog's 94-minute cut feels just right, fully immersing us in this rarified world without lapsing into tedium.

Never really decides whether it wants to concentrate on providing information or sociological analysis, with the result that it fails to fully satisfy on either level.

The film delivers a compelling portrait of the complicated issues involved.

Tai chi devotees will find much to appreciate here, especially the extensive footage of Cheng demonstrating his skills. But the hagiographic approach doesn't delve very deeply, and the repetition of extravagant tributes by talking heads eventually proves monotonous.

Very little about what happens is very interesting, with the contrived situations and artificial-sounding dialogue giving the proceedings the strained feel of a mediocre off-Broadway play with a misjudged air of profundity.

The only frustrating aspect of this cinematic treasure is its brevity.

Combining the influences of Italian neorealism with Dickensian melodrama, Andrei Kravchuk's simultaneously tough-minded and sentimental The Italian is as bracing as it is moving.

The Opera House is a feast for opera lovers and anyone interested in urban planning.

Oh, "Blair Witch," what hath thou wrought? It has taken less than a decade, but the concept of horror films filmed documentary-style has officially become a tiresome cliche.

The fight scenes are extremely well choreographed, filmed and edited, but they’re so relentless in their non-stop pacing that the viewing experience becomes numbing.

While My Country, My Country is hardly an exhaustive depiction of its subject, it provides much in the way of material and perspectives previously unexposed.

Geared very much to younger audiences, it’s fast-paced to the point of freneticism. But it boasts an arresting visual style, its animation heavily indebted to the satirical drawings of Ronald Searle.

Martyn Burke's documentary hauntingly dissects the rise of media mortality in the war zone and the mental disorders that follow.

Lyle Mitchell Corbine Jr.'s feature debut represents indie cinema at its most stark and elemental.

Final Destination Bloodlines gives its audiences exactly what they expect. Namely, a series of ingeniously designed, diabolical Rube Goldberg-style fatalities that are mostly so within the realm of possibility that you’ll find yourself crossing the street very carefully after you leave the theater.

Ultimately, the film, for all its evident verisimilitude, never really demonstrates a compelling reason for being.

The Tale of King Crab strains mightily for a poetic quality that it never quite achieves.

Robin's Wish proves both emotionally harrowing and cathartic.