Jeannette Catsoulis

[An] illuminating if one-sided overview of the myriad ways in which women’s sexuality is controlled and subjugated.

Though filming his hulking hero off and on for nine long years, he (Levy) has created a work that feels remarkably out of time, a snapshot of a man - and a relationship - running in circles.

Home brilliantly illuminates the invisible damage inflicted by years of deprivation. When survival hinges on trusting no one but yourself, the kindness of strangers can seem too good to be true.

The focus of this bizarre Finnish fairy tale - as black as anything the Brothers Grimm could have dreamed up - is a sinister old codger who chews off ears and whose demon minion kidnaps innocent children. Ho ho no!

Blessed with a trove of 16-millimeter film footage captured during this yearlong adventure, the director, Alison Reid, uses it as the foundation for a far-ranging story of scientific discovery, sexual discrimination and environmental alarm.

Burdened by a silly R rating that may deter the very youngsters who are likely to enjoy it most, Yes, God, Yes (written and directed by Karen Maine) fights back with an appealing lead and an overwhelmingly innocent tone.

Unfailingly modest and profoundly humane, The Way We Get By profiles three people over 70 whose lives have been changed by a simple act of service.

Seamlessly dovetailing style and subject, Dragonslayer, a poetic and affectionate portrait of the professional skateboarder Josh Sandoval.

Directed with extraordinary empathy by Aaron Katz (who also wrote the story), Dance Party, USA is an admittedly slight movie, but one that is given heft by a yearning tone and a camera fascinated by the emotional shifts and shadows on a young person's face.

The dead are unquiet and the living are terrified in The Road, a powerfully atmospheric blend of ghostly encounters, horrific situations and missing-persons mysteries from the Philippine director Yam Laranas.

Cam is more successful as an oddly feminist tale of gutsy self-reliance than as a fully developed drama.

The Damned is shaped as a wistful and laconic study of the minutiae of survival. Though billed as his first fiction film, it wobbles tantalizingly on a permeable line between narrative and documentary.

Brilliant, bizarre, dazzling and utterly demented, The Last Circus views Franco-era Spain through the crazed eyes of two clowns doing battle for the love of one magnificent woman.

Using mostly amateur performers and improvised dialogue, Mr. Silver has created a profoundly awkward riff on dysfunction that’s uneventful but not unrewarding.

Restrained but never tentative, remote yet enormously affecting, the movie’s evocation of artistic compulsion is accomplished with confidence and verve.

The dishiness is fun, but Lady Boss is most penetrating when it lifts the carapace of glamour Collins had constructed, both as alter ego and as armor against her critics.

The film’s satire is barn-door broad, its humor sidelong and sharp enough to take the edge off the gore.

Before our eyes, Laura’s lengthening limbs and deepening introspection become the point of a movie that begins with a child and ends with a young woman.

An unexpectedly gripping thriller that seesaws between comedy and horror, I Care a Lot is cleverly written (by the director, J Blakeson) and wonderfully cast.

While Resurrection harbors more than one theme — empty-nest anxieties, toxic men and the long tail of their manipulations — the movie feels more like an unhinged test of how far into the loonyverse the audience can be persuaded to venture.

Paying to see Countdown to Zero is like tipping a fortuneteller to predict the manner of your death.

Now and then, brisk restaurant visits and slow strolls through a cemetery (an unnecessary foreshadowing, given the movie’s title) ventilate the film, but Final Portrait (adapted from Lord’s 1965 book, “A Giacometti Portrait”) is pretty thin on drama.

There may be little to give you the collywobbles, but there’s quite a lot to enjoy, with Ms. Morton heading the list. Swaddled in thick cardis and shapeless scrubs, she makes Katherine a well of overanxious care and castrating comments.

The movie’s biggest entertainment, however, is not the market-share rivalry between MakerBot Industries, in Brooklyn, and the younger Formlabs, in Boston, but its fearless dive into dweeb-culture head space.

There are no fresh ideas in the French creepy-crawler Infested, yet this first feature from Sébastien Vanicek scurries forward with such pep and purpose that its shortcomings are easily forgivable.

With its soft, bleached images and occasional detours into black-and-white stills, Turn Me On, set in an unspecified recent past, has a gentle oddness as unforced as its performances and as inoffensive as its dialogue.

This amiable look at life on the margins gradually accumulates a melancholy that punctures the drollness.

Sleep Tight is a nifty little thriller that dances on the boundary between plausible and preposterous.