John DeFore

A fascinating look at an artist's life.

A compassionate and psychologically revealing doc.

Fans will love its intimate mood and class-act portrayal of its subject; Dion Beebe's cinematography boasts the expected polish, but the film will likely be most popular on small screens.

A Faulknerian look at domestic violence, self-destructiveness and faith set in a small Louisiana town, its cinematic style owes something to Terrence Malick — though this spare, 77-minute debut has none of the meandering self-indulgence of that auteur's recent work.

Though it doesn't answer every question it raises and may occasionally confuse the uninitiated, the polished film easily stirs indignation.

The heavily stylized film further demonstrates the actor's ability to create self-contained worlds behind the camera.

It’s a nightmare, and not one a mainstream audience would relish. But aficionados of this nearly extinct form of special effects will relish the chance to see a labor of love whose roots go back to circa 1987.

Sumptuous and romantic in an attractively old-fashioned way despite a hitch designed to give some contemporary American idealists pause -- the writer's lover is married, with no interest in divorce -- the film satisfies in a wholly commercial way.

Overflowing with wholesome vibes yet not sappy, the film provokes warm feelings, even if its subject doesn't really demand feature-length treatment.

Both an engaging character study and a useful introduction to issues surrounding biodiversity.

[A] minor but enjoyable doc.

Sergio Pablos' Klaus invents its own unexpected and very enjoyable origin story for the big guy who gives out toys every Christmas eve. Shaking off most Yuletide cliches in favor of a from-scratch story about how even dubiously-motivated generosity can lead to joy, it contains echoes of other seasonal favorites (especially, in a topsy-turvy way, Dr. Seuss' Grinch) while standing completely on its own.

A cast of young actors is uniformly strong, as is Lance Gewer's photography.

Deathgasm is a giddy avalanche of gore and heavy metal-drenched mayhem that takes itself not even a tiny bit seriously.

Its account of the week beginning January 25 feels like a solid, layman-friendly addition to the West's understanding of this chunk of history.

Built around an impressive performance by relative newcomer Elvire Emanuelle, the drama recalls Karyn Kusama's Girlfight, though in that case the parental dynamics ran the opposite direction.

The premise, and the hijinks that follow, are about as outrageous as anything in today's crop of raunchy comedies. But Nørgaard offers them with a much drier wit than Hollywood typically delivers.

A rare film dealing with Christian evangelism in a realistic way that neither mocks nor proselytizes, New Jerusalem quietly observes as a man tries to comfort his troubled best friend by bringing him to Jesus.

A thoroughly entertaining doc that serves also as a primer on Brand's shockingly successful comedy career and an introduction to his singular personality.

Though this anecdote-stuffed doc leaves us wanting more of her songs-and-gags routine, it has just enough clips for us to wish she could return to the stage as well.

The filmmakers get astonishing access, eventually earning enough trust that they get to visit Guzman's family home and interview his mother, who proudly recalls how fascinated he was with stacks of play money as a child.

The film pulls off the action climax of this spy-vs-spy narrative quite well given its obviously limited means. But Avalanche will attract more attention for its sneaky ethic...and for its efforts at recreating a period-appropriate look.

A satisfying action pic that finally realizes the potential of its pulp-meets-sociopolitics conceit.

More warm-hearted than funny, Schwarz's feature debut benefits from an intelligent script and sympathetic lead performance by Griffin Dunne

It's easy to imagine exhibitors running scared from the documentary, but audiences who find it will be rewarded with a serious and provocative film.

Viewers who'd prefer a bit more psychological probing may be left unsatisfied, but most will appreciate this chance to hang out with the legendary whistle-blower.

Subjects Bill Andrews and Aubrey de Grey are colorful in quite different but complementary ways.

Inevitable or not, it's fun watching two middle-aged lunkheads reverting to adolescent competitiveness, and the fun is compounded by secrecy.