Ronnie Scheib

Fascinating study of free enterprise in free fall. While it may disappoint thrill-seekers, "Girlfriend" should still delight Soderbergh fans and niche auds.

Pitch-perfect central perf (by scribe and co-producer Damian Lahey), total lack of dramatic artifice and surreally situational humor make for a minor-key vignette of unmistakable, if unstable, authenticity.

Deftly avoiding both the haphazardness of mumblecore and the fakery of studio romantic comedies, Khoury deploys a light directorial touch marked by assured thesping and a genuine appreciation for neurotic angst.

A worshipful tribute to the life and work of Jane Goodall.

Bristling with wry wit and peopled with a rogue's gallery of disaffected losers.

Basically conservative yet titillatingly "eccentric" British laffer could succeed in the "Full Monty" import slot.

Helmer George Butler correctly gauges his film's strengths, with the search for life in the universe becoming a heartfelt tribute to a couple of robots.

A delightfully inventive valentine to his 83-year-old Lebanese grandmother, Mahmoud Kaabour's Grandma, a Thousand Times tenderly deconstructs the family-portrait genre, investing all manner of postmodernist distancing devices with emotional resonance.

Arguably stronger conceptually than visually, surreal mix of the unexpected and the banal is definitely not to everybody's taste. But the music is inarguably sublime.

Cleverly channeling gangster tropes through a British kitchen-sink soap opera, TV scribe-helmer Ben Wheatley has concocted a nifty black comedy, with a little help from his friends, in Down Terrace.

What emerges from Walter's docu is not a sense of failure, but a recognition that the play's the thing, enriched by every flawed performance, perfection almost irrelevant to its cry of anguish.

Throughout, the drivers are framed against the various cityscapes they traverse, though their philosophical views on what is unfolding around them differs with age and temperament.

Laid-back yet incisive, The New Black examines the complexity of black attitudes toward same-sex marriage, which the mainstream media tend to oversimplify as church-dominated and uniformly negative.

The film, produced by Cherney, makes a clear and cogent case (later upheld by a court verdict) that police and FBI falsified evidence in order to discredit Bari's cause.

Beastie Boy Adam Yauch proves he can make a comprehensive, state-of-the-art docu of interest to basketball aficionados.

Cunningly fashioning found footage into a rabbit's-eye view of events, Polish helmer Bartek Konopka creates a chillingly apt political allegory in Rabbit a la Berlin.

Instead of using its hot-button issues as a present-day hook, sticks with a 19th century mindset which it accompanies with elegant turn-of-the-century decors.

[A] deft assemblage of homemovies, work tapes and interviews is further invigorated by 1980s interviews with Pomus and a dynamite soundtrack of his rock ‘n’ roll perennials.

The documentary's open-endedness offers something for everyone.

Alain Gsponer’s well-crafted romantic comedy, glides along on the sheer power of rising German star Daniel Bruhl’s boyish charm.

Hadzihalilovic, the wife of cinematic agent provocateur Gaspar Noé and his sometime collaborator, has created a work of limpid beauty and eerie menace that some undoubtedly will dismiss as kiddie porn.

A magnificent performance by Sarah Polley illuminates every frame of this relatively upbeat melodrama.

The women's outspoken commentaries prove consistently colorful and their long-ago stripteases -- feathers flying, tassels spinning -- still pack a sensual, sassy, what-the-hell punch.

Craig Rosebraugh’s docu Greedy, Lying Bastards covers ground well-traveled by environmental exposes from “An Inconvenient Truth” to “The Island President.” Rosebraugh, however, focuses less on the issue of global warming itself and more on the deniers and their big-money backers.

Daly deftly creates a disturbing, Chabrol-like tension that plays on immediate identification with the handsome medico's lonely, shy vulnerability and slow-building horror at the depths to which his self-delusion can sink.

Endearing documentary, winner of Tribeca's audience award, should delight devotees and intrigue nonbelievers.

Thanks to Saville’s tightly controlled direction and a superlative cast, the mere exchange of glances builds as much suspense as the kinetic action sequence that opens the pic.

To the extent that Michelle Williams' multilayered interpretation of Marilyn Monroe serves as its raison d'etre, My Week With Marilyn succeeds stunningly.