There There skews its world ever so slightly, arriving at some nicely off-kilter insights amid its non sequiturs, but for all its neat tricks, function is definitely following form here.

Comedic actor François Damiens mines but never mocks Markus' awkwardness, thereby creating a winning portrait in decency. His tracing, with the ever-luminous Tautou, of the slow bloom of new love is a thing of understated beauty.

A charming, winsome slice of Seventies pop kitsch reconceived as a kind of Knight-errant quest for that holiest of all grails, dear old mom.

Its open-ended nature, its calm ambiguity, and its captivating, self-contained world all come together to give a clear view into Oshii’s creative and spiritual obsessions – even if that view doesn’t really provide much insight.

Meghie’s film is a paean to the push and pull between enchanting possibilities and chimerical probabilities. You don’t need to bring a handkerchief into the theater for fear of ocular leakage, but The Photograph’s modestly hopeful denouement is, truly, picture perfect.

The movie’s constant meta-comedy recognition of the endearing yet aggravating earworm quality of the first film’s “Everything Is Awesome” theme song may be its most effectual in-joke.

Though the story played out in the national media, this documentary makes effective use of commentary by Tillman's survivors, who resent the way the military lied to them and exploited the memory of their loved one to serve an ulterior purpose.

The script is chockablock with al dente amusements – obvious targets still make for wickedly funny one-liners – and the German actor Waltz (Inglourious Basterds) is terrific as the only parent unburdened by decorum.

Allen’s film is as much a self-reckoning as it is a cautionary tale for other spiritual seekers, and as such it offers invaluable insights into how cults – and especially cults of personality – function and grow. “Namaste,” for the record, is also an anagram for “Me Satan.”

You can tell that everyone's whole heart is in this project, you just wish that a little more of the heart was conveyed on the screen.

As usual with anime features, just because it's animated doesn't mean it's for kids; heads roll and blood spurts, so know that going in, mom and dad. For the older crowd, though, it's gory and gorgeous bliss.

Kroll's Fester in particular is a spot-on imitation of Jackie Coogan's spittle-spraying happy-go-lucky freak.

In the end, Barracuda may not have the sharp teeth of the Hollywood nail-biters that have swum before in familiar waters. But if you’re attuned to its slow-burn charm, it still offers some bite.

My Friend Dahmer becomes one of the year’s most chilling true-life dramas.

Parcels out information like a triage medic doling out morphine; every tiny bit is carefully considered and then rationed out as though he were terrified he might exhaust his supply before the closing credits.

A playground for Malkovich – enjoyable enough but not terribly deep.

Will be of interest for anyone seeking unconventional romantic stories as well as those curious about the development of the Dogme movement.

Writer/director James Vanderbilt...sticks to Mapes’ version of the truth, and the film serves as a valedictory for Mapes and Rather. Still, the movie never negates the truth’s other strands, while also showing what a human profession journalism is.

Baichwal is comfortable with those moral and aesthetic ambiguities as well, and, as a result, she’s created a visual poem of devastation that makes one question one’s entire relationship to the world.

After Tommaso, which was Ferrara at his least apologetic, it's so fitting that his most epic film is also his most introspective.

To do no disservice to the impressive work of Bridges' co-stars, anytime his ragged writer, in flowing caftans and floppy hats, is on screen, it's impossible to take in anything else, so commanding is his presence.

It’s a mixed bag for sure, but The Good House ultimately displays enough self-assurance to overshadow its contrivances.

While the performances are total delights, there remains the nagging feeling that Kore-eda is not working at his peak.

As documentary Free Chol Soo Lee shows, it's wisdom that seems to evade what are supposed to be the mechanisms of that justice.

Curious and effective.

An intriguing export with crossover appeal.

As a film An Inconvenient Truth is a treasury of information. Attention may occasionally drift, but the film’s message of urgency is abundantly clear.

An admirable little film, a funny and familiar depiction of Americans traveling abroad, strangers to each other and themselves.