Ken Jaworowski

Catherine Lutes’s camera catches magnificent views of Revelstoke, British Columbia, that are worth watching as you wait 18 minutes for the next semi-interesting scene.

Though the timeline and a few details could use further clarification, dream/killer remains fast-paced and frightening.

Though speechifying and mawkishness are thankfully scarce, the bland script gives her few chances to go beyond the expected formula.

It’s a fond and forgiving tribute to the man, filled with music that moves beyond happy and sad, and toward something like brilliance.

If all of Song of Lahore were as exciting as its ending, you’d need an hour afterward to catch your breath. It’s not, yet despite a lackluster start, this documentary redeems itself by the finale.

Rock in the Red Zone has its best moments when it explores the anxiety of Sderot’s residents and their endurance. It’s the strongest topic here, and the one you’re most sorry to see interrupted when the film inevitably switches over to something else.

While these men aren’t accountable for the actions of their fathers, they are obligated to recognize the truth of what happened. To see one of them deny that truth is difficult to watch, and just as hard to look away from.

I’m only a little embarrassed at liking Heneral Luna, an audaciously manipulative movie that’s more involving than it should be. But really, when a film works this hard to rouse you, there’s no shame in just giving in.

Because of its shortcomings, (T)error serves as evidence of a broken system rather than an indictment of it. Yet such evidence is worrisome and points to a threat to civil rights.

An exceptionally absorbing documentary.

While the scenes shown from “Bulletproof,” the western they complete, are haphazard, that’s of little concern. If you want to see real courage, it’s not in that movie anyway. It’s in this documentary.

The makers of A Brave Heart: The Lizzie Velasquez Story leave a few too many questions unanswered, but their subject’s immense optimism steamrolls through the documentary’s shortcomings. Indeed, there seems to be little this woman can’t vanquish.

A jumbled third act and an indifferent ending ultimately make Hellions disappointing. But there’s a bit of fun to be had in its opening frights, and in trying to figure out what these costumed little monsters really want.

It certainly demands patience (and a forgiving eye) as it experiments with an odd style. Yet it’s also a compassionate look at characters who don’t dwell on life. Instead, they live.

Theories that are worth voicing are apparently worth repeating, and beats that sound catchy are sure to be replayed many times.

Juicy dilemmas are dangled in front of the audience, then disappointingly yanked away.

Even knowing the secret of A Gay Girl in Damascus doesn’t make this documentary any less tense. That’s a testament to Sophie Deraspe, a director who understands how to let a plot unfold.

Even at 75 minutes, it can feel padded with footage whose connection to the central plot is tenuous. But at its best, The Wanted 18 follows a worthy tradition of highlighting absurdities that arise during conflict.