Marc Mohan

As usual, the director is a wizard at camera movement and more than willing to plunge his audience into unpleasantness.

Digitally shot, the film looks great, and the performances ooze charisma. The biggest star, though, may be Kinshasa itself, a roiling, barely cohesive sea of humanity that seems as if it could serve as a backdrop for some fascinating films for years to come.

Eventually the chemistry between Collette and Church wins out, and Lucky Them makes for a diverting, if forgettable, romantic comedy.

This being an Italian film, and Gianni being such a hapless, kindhearted aspiring Lothario, make this perhaps the sweetest movie ever made about a guy trying to cheat on his wife.

Collette proves herself worthy of carrying a movie with a performance that runs the gamut of human emotion without striking one false note.

Whereas Carver writes about alcoholics, this movie is about alcoholism, which is completely different.

Paradise: Love, the first in a thematic trilogy, is a sad story about the difficulty individuals face when trying to establish relationships across vast cultural and economic gulfs.

This final act goes on far too long and devolves into such a miasma of pap that it's clear Stoller had no idea how to wrap things up.

Despite the mysteries of the plot, a sitcom-style sense of expectation creeps into Saving Face, which sometimes feels comfortable but mostly serves to spotlight the shortcomings in a script that invents compelling characters but doesn't give them much out of the ordinary to do.

It mostly manages the impressive feat of mixing jaw-droppingly gross jokes with characters that are worth caring about.

Though its characters aren't terribly complex, and its plot holds few surprises, the screenplay (in English, German, and Hebrew) amounts to a worthy treatise on the need to forgo revenge.

The authenticity of its setting and its actors make this effort worth a look.

If Rod Serling had hired Robert Altman to direct a "Twilight Zone" episode, it might have turned out something like this.

In the end, as gay people and other marginalized groups throughout history have shown, the only real solution is to learn not to be agonized or ashamed over differences, but to celebrate them with pride.

Idris Elba exudes the requisite militaristic authority as Raleigh's commanding officer, and Rinko Kikuchi is his determined partner in mecha mayhem.

The question that lies at the heart of the documentary Aristide and the Endless Revolution is whether his exile was his own idea or whether he was pressured, even kidnapped, by the United States.

Well, if Jordan believes he's made an excellent film, that's one thing, but the fact is it's a minor, though mostly enjoyable, one.

The story of Matt VanDyke, as told in the fascinating documentary Point and Shoot, is a vivid illustration of the ups and downs of reinvention.

The performances are solid, the cinematography is stunning, and the setting is intriguing. But the whole thing feels bloodless, hitting us over the head with its understatedness. Anytime a film's soundtrack features The Shins, James Taylor, and Nick Drake, you know you're in for an overly laid back time.

While the subject matter is certainly American enough, it seems possible the original had a bit more depth.

Baker's previous films "Take Out" and "Starlet" have focused on populations generally treated with disdain by mainstream society -- illegal immigrants and porn performers, respectively. With Tangerine he continues to prove that by depicting these characters in all their flaws and majesty, movies can inspire awareness of our shared humanity. And make us laugh.

Sleeping with Other People turns out to be more entertaining than it sounds. The movie, that is.

Once all the pieces of the story are assembled, the whole thing turns out to be not that big of a deal.

Weitz does it again here, turning what could have been another manifesto of liberal guilt into a genuinely moving tale of a father and son banding together in a hostile world.

Despite all this hokum, Quartet is amusing and heartwarming.

There's something in this nostalgic, lovingly photographed film about the transition from the classical art of painting to the new art of the cinema, as embodied by one of the greatest practitioners of each. The independent-minded Andrée, who would go on to marry Jean Renoir and star in several of his early films, is presented as something more than a mere muse, if something less than a full-fledged character.

While this sort of thing can easily devolve into bourgeois comfort food, Thompson, a veteran of the genre, knows how to serve it up just about right.

Bettie Page Reveals All earns its title from more than the uncensored images it includes.