Sean Axmaker

Morris challenges us to understand what the pictures show and what they don't show, and to see them in context. And he confronts us with the most important question surrounding them: Do they reveal a crime, an aberration in the system or standard operating procedure?

The story plays out in the sensuous textures and hypnotic rhythms as the rebellious youth Torres embodies eases into a serenity and acceptance that Montenegro brings so gently to her performance.

Deftly weaves history, film and memory into an imaginative meditation on why the movies become a part of our lives.

An alternately angry and sad portrait, passionate in its presentation and moving in its portrayal of individuals who sacrifice their love for the tenets of their religion.

A family-friendly remake funnier, fresher and more affecting than the flavorless original.

Despite the raw gut-punch of its direction, its power lies in compassion, not sensationalism.

The ironies and contradictions that give the first half a dark humor give way to gravity and respect as soldiers are killed (off camera).

It's more theatrical pageant than action movie, with the showy but rudimentary martial-arts action coming off like just another ritual with the players going through the motions.

This scruffy, unkempt tale lacks the narrative satisfaction of Kaufman's dramatic design, but between the chaotic zigs and creative jags, it proclaims its own kind of messy authenticity and a bittersweet beauty.

This tale of kooky social misfits finding their place in the world is an audience pleaser, for all the reasons such tales usually are.

The triumphs still are affecting, the setting is compelling and some of the human moments amid the political circus and culture wars are downright moving.

There is an element of murder mystery and an edge of conspiracy thriller to Chris Paine's documentary about the rise and fall of General Motors' EV1 (Electric Vehicle 1).