Gary Goldstein

While often affecting and absorbing, the film proves intellectually and contextually light. This is especially true given a leisurely running time that could have easily accommodated more dimensional probing.

As a crash course in extreme mountain climbing, the triumph of the human spirit, love of country and family, and those driven, fearless souls who choose to reach above the clouds, “14 Peaks” is a uniquely stirring journey.

Although Iranian filmmaker Mohsen Makhmalbaf says The President was inspired by the turbulent events of the Arab Spring, there’s also a timeless quality to this absorbing and powerful fable that provides added resonance.

Emotions run deep and wide here; anyone who’s ever lost a parent, longed for love and acceptance, or tried to find his or her true self should easily relate. It’s a terrific film.

It's not all doom and gloom. This crisply shot picture also offers stirring views of these industrious little creatures, their complex habitats and the rich amber goodness they create. Some jaunty animation enlivens things as well.

It’s a strange brew: stark yet beautiful, urgent yet dreamlike.

Directors Sheena M. Joyce and Don Argott could have easily ditched the stagy narrative bits (and behind-the scenes chats with the actors) and relied entirely on the vast amount of fascinating, well-assembled archival footage that, along with recent interviews with the late DeLorean’s children, co-workers, lawyer and other observers, nimbly recount the renegade’s complex, tabloid-ready adult life.

It's all presented with equal parts humor and sensitivity, though Buford doesn't much delve into the potential landmines here - racism, classism, exploitation - allowing the power of assimilation and opportunity to carry the day.

The Wall is a remarkably involving film, especially given its brave, self-imposed limitations.

[An] accessible, persuasive, often amusing look at how investments in dubious Chinese companies gave way to crisis-level losses for average American stockholders in the wake of the 2008 financial disaster — and beyond — and made some U.S. bankers and lawyers and Chinese executives a bundle.

There’s a potentially smart and sexy lesbian dramedy at the heart of “Anchor and Hope” that gets lost amid idiosyncratic filmmaking and a lack of narrative discipline.

[A] captivating documentary.

Campbell Scott's strong narration (well-written by Allentuck) and fun vintage musical selections effectively round out this provocative portrait.

Tom at the Farm is strange, idiosyncratic tale that straddles a fine line between homoerotic camp and spider-and-fly thriller.

A richly absorbing historical docudrama.

Blethyn brings tremendous empathy to the introspective, determined Elisabeth, while the tall, gaunt and dreadlocked Ousmane fleshes out his less-dimensional role with a haunting sadness that speaks volumes.

As a candid and involving socio-sexual time capsule of postwar to pre-AIDS Hollywood and how one free-thinking pioneer made a secret society of legendary artists and performers undeniably happy, “Scotty” definitely succeeds.

A terrifically entertaining, smartly constructed trip down memory lane with one of the American stage's most legendary troupers.

"Addicted" proves a strangely sad yet wildly compelling cautionary tale.

Anyone looking for a definitive survey may want more, but this enjoyable film will undoubtedly score with musicians and cinephiles alike.

The election’s startling results give the movie more resonance and emotional heft than it might have otherwise. A brief closing interview with Obama provides some stirring — and haunting — grace notes.