Kevin Crust

There’s a much appreciated sweetness and innocence to what we witness, a truly diverse group of Americans selflessly helping one another, joy being their only compensation.

An enchanting tale of friendship and evolvingrelationships, The Water Horse: Legend of the Deep" engagingly grafts coming-of-age movie chestnuts onto Scottish folklore.

Redeemed by its adherence to a simple yet distinctive approach to storytelling and its uniformly strong acting.

A curious film in multiple ways, Cielo does not always achieve its lofty ambitions of transcendence. However, accompanied by the eerie silence of the desert and the plaintive wail of Philippe Lauzier’s mournful score, McAlpine’s visuals transport the viewer to a state of reflection while reminding us of the sublime beauty of the space above.

Numerous films have explored undersea life, but few as comprehensively and as consistently compelling as Deep Blue, by the creators of the "Blue Planet" TV series.

Within the confines of a straight-ahead, handsomely designed and photographed biopic beats the heart of a more adventurous presentation of Holiday’s tragic life. It’s hinted at in Day’s performance, the dreamlike memory sequences and a cheeky, meta-coda that plays out during the end credits but never quite pierces the film’s more varnished surfaces.

Horn, who knew Nomi, does an excellent job of evoking the exhilaratingly hedonistic period the film covers as well as the long shadow that the coming of AIDS casts over it.

An unapologetic cheerleader for exploring the final frontier, Hanks wrote and produced (along with director Mark Cowen) this enthralling look at what might be the greatest technological feat of the 20th century.

Tense and gut-wrenching, Beyond the Gates is a horrifying story told with grace and compassion.

Fascinating, highly entertaining.

With pathos competing equally against the often pungent laughs for the audience's attention, it's a movie that is both unsettling and amusing, most comparable to "Chuck & Buck" in tone.

The Negotiation unravels from the inside out, lurching from improbable to implausible to just plain ridiculous, and writer-director’s Lee Jong-Suk’s by-the-book filmmaking does little to raise the stakes.

As directed by New Zealand filmmaker Justin Pemberton, “Capital” is a sleek tour of economic history over the last 400 years or so.

Through sensitive, in-depth profiles of four workers, Weisberg drives home the point that hard-working men and women with full-time jobs find themselves and their families trapped in a seemingly endless cycle of poverty.

Regardless of your opinion about Sacco and Vanzetti, the documentary should prove thoughtful and thought-provoking.

More evolution than sequel, Chen maintains the laidback, low-fi charm and black-and-white aesthetic infused with Nakamura’s dreamy, pensive music but also grows the characters, infusing them with more narrative purpose.

The filmmaker deftly moves backward and forward in time to chronicle Ngoy’s remarkable journey from war-torn Cambodia to the strip malls of Orange County while becoming a multimillionaire.

A winning combination of humor and crafty filmmaking.

The bulk of the movie is a series of sight gags and set pieces that wreak much havoc but little else.

By concentrating on the early projects, we get a richer sense of the development of Nichols the artist in his own words and illustrated with photos and extended clips of performances.

It’s a Shakespearean rhapsody in indigo where love, friendship, betrayal and revenge swirl and blur with life-changing consequences.

It’s a simple recipe and remarkably effective.

The film dawdles at times. but for the most part Donaldson keeps just the right amount of tension present in each scene.

Tells this most unusual love story with grace and compassion.

The feature debut of music video director Ninian Doff is probably best viewed late at night under the influence of a mind-altering, preferably hallucinatory, substance.

There's nothing particularly revelatory about the interviews recorded over a two-month span, but there's an intimate quality that gives the impression you're listening to a private conversation, which, in a sense, you are.

Movies about male friendship are often trivialized with the "buddy" tag, but this one resonates beyond that.

In the final act, the film embraces some of those larger points, and Herzog ends with a striking final image leaving us to contemplate the transactional nature and true cost of all human relationships.