Bluegrass fans should have few complaints about this stellar concert film.

By the time the explosive finale arrives (with a wistful Ray Charles crooning over shots of cataclysmic destruction, no less), you'll be hard pressed to name a recent film with this much action, pathos, and smarts.

"Dr. Goodlove," or "How I Learned to Stop Worrying and Love the Proletariat" might have been a better title for this ingratiatingly loopy origin story about prerevolutionary icon Ernesto "Che" Guevara.

There are even times when both the subject and aesthetics of A Private War seem to align accordingly; unfortunately, the film is incapable of sustaining this poignancy for any extended period of time.

By the time this harmless but possibly harmed pack of pups is seen approaching the Atlantic Ocean at Coney Island for the very first time – “Look at that, there’s people all over the beach,” one brother nervously mutters – it’s clear that there are second acts, and more, in American lives, even ones so borderline freakish as the ones presented here.

It's Winslet who is the heart and soul of Little Children, and when she makes a desperate, final bid to reclaim her soul, it's both horrifying and heart-rending.

What is notable, though, is the amount of compassion invested in the film by Cameron and co-screenwriter William Wisher. There's a fairly well-drawn moral message in T2 that was more or less absent in the first film.

Director Jim Sheridan, who has collaborated with writer Terry George on In the Name of the Father and Some Mother's Son clearly understands the weariness that inevitably consumes not only long, seemingly irresolvable conflicts but stories about them.

Everyone who has been in a long-term relationship has gone through that moment when they wonder where they end and their partner begins. Adult connection horror Together takes that inner fear and makes it physical.

Rich Hill attempts to lay bare these kids’ lives, striving for gentle intimacy, but the result feels more like arthouse pandering.

Unlike Alfonso Cuarón's critically-lauded "Roma," which somehow managed to reduce its indigenous protagonist to a passive observer in her own life, Song Without a Name never loses sight of Georgina's pain or her agency - or its limits.

Compelling, relentless cinema.

It’s a nice debut piece for director Baumbach, despite the film’s reliance on the twentysomething blues formula.

Every so often, a spark in Marinelli’s mesmerizing blue-gray eyes flickers and you can imagine the passion that drove the man to his madness. In those moments, Martin Eden subtly flames, if only briefly.

Civil War’s main battle sequence is so effective because it’s six-on-six, and we’ve spent the past decade getting to know the combatants.

There are no hard truths to be found in Finding Vivian Maier (really, how could there be?), but it’s an engrossing doc nevertheless – a portrait of an American artist hiding in plain sight, a mystery with too few clues, and a sincere inquiry into how best to divine the wishes of the dead.

This beautifully acted and gradually revealed drama is a quiet discovery. Not one to blare its own horn, Middle of Nowhere is the kind of little indie film that gives little indie films a good name.

This is classic Hollywood, at its best and worst, sticky rich and scabrous. It may not be the truth, per se, but it sure sounds good.

The filmmakers no doubt had a hell of a time whittling the material down; unfortunately, what they came up with was something long on the mundaneness of GovWorks.com and short on the personalities behind it.

Appropriately belongs to Lopez. His mannequin glaze and never-wavering smile provide more creepy-crawlies than a thousand quivering violins or perfectly timed thunderclaps.

Feel-good comedy with none of the pejorative hints of innocuous blandness that term so often implies.

The movie's third act begins a baffling and not-very-believable character turnabout.

Minus much of the rose-tinted nostalgia his films have occasionally engendered. There is a nostalgic tone to the film, but it's a quiet, subtle one.

An enjoyable study of ridiculous regimentation and a sure balm to anyone who has overdosed on the efficient designs at Ikea.

No matter how bad you may have it, you'll feel better about your own lot in life after watching the tumultuous sexual flailings of Marcela and Jarda (Brejchová and Luknár), a way, way, way down on their luck Czech couple.

It's a finely calibrated, spiraling lesson in what NOT to do when engaging in adultery, blackmail, arson, and general antisocial behaviors, and in its best moments it recalls the everyday darkness of James M. Cain: average people doing awful things in an amoral and uncaring universe.

Demián Rugna's debut feature, Terrified contains one of the most eerily disturbing scenes in recent cinema history, a moment involving an unwanted guest at a dinner table. His follow-up, When Evil Lurks, confirms that the Argentinian filmmaker knows exactly how to get under your skin.