Other People is gentle, heartfelt, and of a delicate build. Kelly’s best observations are small but true: the touching banality of a bad pop song, and that “other people” is in fact most people, if you’re paying attention.

There's a comment in here somewhere about leadership and authorship, and it's not that we're laughing too hard to fully comprehend it. In von Trier's world, the laugh is often ON the audience, not WITH the audience.

Co-produced and edited by Austin filmmaker Karen Skloss, Have You Got It Yet? is as exhaustive a study of Barrett as possible. It does suffer from the flaw that affects so many biographical documentaries, that the subject is somehow unique.

Nanny isn’t able to follow through on all of its ideas, but those ideas are pretty undeniable.

It is, however, a very satisfying film, and surely the first in a long franchise (it does, after all, bear the subtitle The Vampire Chronicles).

Gordon-Levitt, however, nails the part completely, physically hunching down into himself and getting Snowden’s halting, thoughtful speech patterns just right, while Stone, working with screenwriter Kieran Fitzgerald, creates a whirlwind ride nearly but not quite worthy of The Parallax View-era conspiracy thrillers.

Farcical mayhem. A convoluted plot that's easy to follow but hard to describe.

Viewers unfamiliar with Miyazaki and Studio Ghibli’s extraordinary output over the years may find Never-Ending Man an exercise in tedium – the creation of an animated film, even a short one, is a famously slow and exceedingly precise process – but for those who, like me, adore his life’s work, it’s a precious and fascinating glimpse into the inner life of the world’s greatest living animator.

Sweet, silly, with that profoundly bizarre world view that makes a snail trail gag open to everyone for a laugh, this may not change SpongeBob forever, but it's more SpongeBob as we love him, and that's all the fun you can need.

The film is an action-packed thriller-Western hybrid, but it takes a dreamy pace in setting up the story (the first 20 minutes or so are rather languid).

For those viewers who can relate to Melanie's and Jack's lives, One Fine Day offers light-hearted romantic fun, but for younger viewers the film may not quite hit the mark.

It's not the most flattering depiction of Jews I've seen. Still, The Passion of the Christ is something of a masterpiece, terrible to behold, unfit for children, certainly, but very much the work of a director in the throes of his own distinct passion.

Narratively, we all know where the trajectory of the story is headed, thus the culminating match (nearly 20 minutes) takes up too much screen time without adding anything new to the drama.

Those who just want to watch dinosaurs eat people in creative ways? They’re destined to get their money’s worth.

Although its ambitions often exceed its reach, the meta-mad Filipino film Leonor Will Never Die (a terrible Americanized title) bursts with imaginative impulses, scoring slightly more hits than misses in a Charlie Kaufmanesque storyline that flip-flops between reality and fantasy using the tropey device of a movie within a movie.

We may come to Empire of Light like moths to a flame but, ultimately, the film’s glow lacks incandescence.

Isn't quite a home run: The visually flat film leans on a pop culture crutch that probably won't age very well, and the finale – while terrifically funny – feels piped in from another, far sillier movie.

Playing out like some bizarro hardcore version of an episode of "Girls," Wood’s feature debut infuses a hefty dose of white privilege mixed with more than a sprinkling of gender politics, all wrapped up in a sleazy, sweaty, strung-out package that wants, no, needs you to react to the various bad decisions every character makes.

Relentless and mercurial, this new outing by "Swingers" director Liman takes off somewhere around Mach 3 and never lets up, leaving you with either a pounding headache or a wicked grin, or perhaps both.

The internet is infinite. So, too, are the ways it can breed creepy behavior and new opportunities to commodify human connection. People’s Republic of Desire explores only a tiny swath of the internet of grossness, but it’s a subject so epic it deserves much longer examining than a quick 95 minutes affords.

The B-Side is not one of Errol Morris’ finely focused film essays; instead, you may feel a desire to “shake it like a Polaroid picture” in an effort to encourage its development.

Spoiler Alert is at its best when it's not afraid to be mawkish, sentimental, soppy, honest, and downright charming.

It’s not a movie for you to turn off your brain, but rather, a movie to engage with the most primal parts of possessing a fundamental need for cheap entertainment.

An amazing argument no matter which side of the debate you favor, Stone’s film manages to restock and bring a fresh voice to an old controversy. The documentary is well-made and articulately argued, although that doesn't mean it isn't going to have as many adversaries as champions.

It's an endearing romantic daydream, but misses the bus where matters of reality are concerned.

The movie is a lot of fun if you don't think about it too much, the stuntwork should satisfy the genre fanatics in the crowd even though it doesn't set any new plateaus, and the rapport between Davis and Jackson is enough to keep the sticklers for realism in abeyance at least until the final credits roll.

It's less cheesecake than angel-food: frothy, light, and delicious, sure, but two hours later you're ready for something slightly more substantive.

In its own peculiar way, What Love Is is a testament to the redemptive power of words. Thankfully, Callahan knows to keep it short and sweet, lest his audience go mad from the noise.