Steve Ramos

What Foy and his team discover is unbelievable. More importantly, their adventures will prove popular with street art buffs as well as documentary fans.

There's nothing wrong with social message melodramas that tackle the AIDS crisis and certainly not every gay release has to please crowds like "Priscilla, Queen of the Desert," but Schlim has a good-time movie with a likable cast.

The Guard may be a formula movie but McDonagh does wonders with the familiar character types and action climax.

Typically, Carpenter thrives on modestly budgeted films like The Ward, but this one comes off as an amateurish misstep due to unoriginal storytelling from fledgling screenwriters Michael and Shawn Rasmussen.

British filmmaker James Marsh recreates this tale of an ambitious primate language study through traditional face-the-camera interviews, clever graphics and dramatic recreations.

Instead of a topic documentary, If a Tree Falls becomes the personal story of a well-intentioned man whose passion for the environment leads to serious consequences.

Troll Hunter may be a relatively low-budget fantasy but the film looks epic in all the right sequences.

Sweet moments of subtle comedy and straightforward family drama mix perfectly with Mike Mills' trademark artfulness in Beginners.

It's by the book advocacy docmaking at its best.

Arguably the best creative decision Jacobs and Siskel make in the film is choosing their talented subjects.

Burns captures the look and spirit of the times with perfect detail.

Hobo is trash cinema through and through and gives fans everything they want from a drive-in throwback. That's something that doesn't happen often.

Spurlock is at his trouble making best throughout the film, especially when he persuades longtime consumer advocate and former presidential candidate Ralph Nader by offering him a free pair of Merrell shoes.

Pleasantly old fashioned, with plush period sets of '20s Shanghai and actual hand-to-hand combat.

Sappy melodrama, clumsy dialogue and heavy-handed proselytizing derail the inspirational story of teen surfer Bethany Hamilton.

Epic in scope, and featuring a powerful lead performance by Williams, Reichardt does justice to the myth of the wagon train settlers and makes a Western every bit as beautiful and poetic as Terrence Malick's "Days of Heaven," and thankfully a bit more energetic.

An artistically mature work with pitch perfect performances.

It's worth remembering that eleven years passed between "Judy Berlin" and 3 Backyards, both of which earned Mendelsohn best director prizes at Sundance.

Hardwicke shows a strong grasp at epic fantasy with Red Riding Hood; her nemesis is not a man-eating wolf but an unsurprising script.

While Caruso will fail to win over adult reviewers, I Am Number Four will connect with teen moviegoers anxious for a new young adult fantasy fix to hold them until the next "Twilight Saga" hits in November.

The storytelling falters throughout and The Eagle, despite its grandeur.

Reilly delivers another one of his trademark "nutty pal" performances that continue to win him fans.

Production values from designer Anthony A. Ianni are matter-of-fact with the exception of standout effects from key make up artist Colin Penman and his staff. Its cast is fairly forgettable with the exception of Saw veteran Tobin Bell as Jigsaw and Cary Elwes as Gordon.

Watching Driver peel rubber proves B grade action movies are a welcome diversion in the era of CGI blockbusters. If only Faster didn't fizzle each time Johnson put down his gun.

It's important to note that Waste Land is not a landscape film about the landfill itself. Instead, Walker, who also premiered a second documentary at Sundance, "Countdown To Zero," about the threat of nuclear proliferation, shows that Waste Land is ultimately about the pickers, Tiaõ, Zumbi, Suelem among others, who rise up through the power of their own artistic accomplishments.

Genre movies like The Warrior's Way are all about pleasing core fan boys. While the film claims dazzling visuals, Lee fails to deliver the type of never-before-seen martial arts fights fans demand.

The sweetest runaways you'll ever meet are pre-teens Kylie Lawless (Kelly O'Neill) and Dylan Dunne (Shane Curry).

A specialty house crowd pleaser on par with their previous arthouse hit "The Visitor," and Hoffman should be prepared for another round of acclaim; except this time, admirers will be discussing his directing work.