Dedicated to Atlantic Records fountainhead Ahmet Ertegun, whose complications from injuries sustained in a tumble backstage at the Beacon resulted in his death, let the record show that a lifetime of musical innovation concluded with dying not at but FROM a Rolling Stones concert.

As uncomfortable as it is to have your nose shoved in this nightmare, its unforgettable in its violent lyricism and the bloody power of its message.

The kind of movie that gets under your skin and takes root.

There’s more narrative happenstance loaded into the script of Blue Car than its running time should effectively allow, but the real keeper moments in Moncrieff’s movie are the small, quiet ones in which a simple glance speaks volumes.

The elements are all here for something spectacular – and in brilliant bursts, Jeunet really gets it – but in the end, all that potential is sunk by a terminally confused tone and milquetoast pairing of lovers. Pity that.

Living in Emergency, then, is like a hard slap to the face: There is nothing remotely romantic about this grim depiction of two missions in Liberia and Congo in the mid-2000s.

Denise Ho: Becoming the Song offers an affecting timeline of a political awakening of a person, of a movement, and of a generation utterly frustrated with the machinations of oppression.

If only Cartel Land were as rigorous in its thinking as it is in its filmmaking methods, the film might strike an even deeper blow than it presently does.

One of the most intelligent crime-thrillers to come along in years.

Artfully stitched together sans narration, Soul Power stands alongside "Wattstax" as a critical concert film of the Black Power era.

Thoughtful and achingly empathetic – there is so much grace in these performances – We Grown Now occasionally tilts a touch too capital-A Arthouse Film.

The movie makes us all want to stand up and cheer, “Shine on, Tina. Shine on.”

Housebound nimbly jumps through the hoops of horror tropes, inventively subverting them along the way. The fact that it sticks the landing is a testament to Johnstone’s solid script and direction.

What Hail Satan? really achieves is to show this new brand of Satanism as part of the same tradition as the Dadaists and the Church of the SubGenius, fighting for actual liberty and debunking falsehoods. As one activist so adroitly explains, the devil’s work is never done.

The Dog reveals both expected and unexpected things about this oddball character to keep you interested.

Presumably the first ever feature film adapted from a Twitter thread, Zola makes use of the graphics and sound effects of the internet, as has been common in film for the past several years. But there’s more depth to it here given the context.

Talk to Me is hardly a bad horror film, but the disconnect between what was and what could be looms large over the final act.

There’s a certain spiritualism that inhabits all of Nichols’ films, and I’m not sure that the explanations finally offered to shed light on the specialness of this child are truly sufficient. But in the context of the movie, it all works.

It's a lot more than simply a string of names and dates and anecdotes, but after this many hours that's what it starts to become.

The result is an expansive and ambivalent testament to human ingenuity, human intransigence, and nature’s endangered yet enduring power to move.

The one thing that is clear from Japón is that a major new visual stylist has hit the screen and that Reygadas’ first film represents the beginning of an auspicious career.

Tickled doesn’t quite answer all of the questions it brings up, and there’s a nagging feeling that there is much more to this story than portrayed.

It's interesting and well-performed, but it's no Cain and Abel.

The Last Station would have satisfied alone as a witty, manic lark, but as it moves toward the titular railway station, the film unfurls into so much more – a work of compassion, modulated mournfulness, and unchecked joy.

With The Guest, Wingard and Barrett have once more upped the ante for the indie horror flick pack.

Unlikely to be either the tea party or Occupy America's first pick for best film of the year, Margin Call is nevertheless a surprisingly adroit effort to A) explain the birth pains of our current financial woes, and B) show what it might have been like, in these first few hours within the confines of an early investment trading firm casualty.

It’s a personal, aching, and romantic film that’s swimming in the complicated trials of youth.

The antithesis of a feel-good movie, Listen Up Philip is a challenging experience, largely because it refuses to compromise its protagonist’s dogged preoccupation with himself.