Milford Graves: Full Mantis is a wide-ranging look at an intriguing artist, a documentary brimming over with his thoughts about culture as well as his music.

In the end, Skate Kitchen is a frustrating film that’s supposed to elicit a heady sense of freedom, girl power and a rush of sisterhood. It doesn’t. Instead, one is left feeling vaguely hollow.

Amy Scott’s affectionate and smart documentary sheds light on an artist obsessed with addressing the injustice and intolerance in this country, but who himself could be the most problematic of men.

The story of the 2010 Citizens United Supreme Court decision, which opened the spigots of campaign cash, has been told before. But Reed weaves it into a larger narrative in which it is simply one of the steps in the unraveling of modern campaign-finance laws.

Comprised entirely of the diva’s own words, whether filmed or transcribed from her various writings, letters and reminiscences, the film offers the definitive portrait of a woman who rose from obscurity in her native Queens, NY, born Greek, to become a true citizen of the world and queen of an art form.

Searching is so smart about how we interact with computers that it's surprising how lame it is about moviemaking basics like characters and plot.

The approach, while admittedly daring, leaves the game viewer, although certainly dazzled by much of the footage, rather wanting more than Bartsch verbalizing the arc of her life and ambitions, yes, but in a distorted layered and overlapping soundtrack that, intentionally, is not always decipherable.

The smartest kind of sequel, Ralph Breaks the Internet remembers what you liked about the first film. And then, not only gives you more of the same, but something different.

There’s a “Let it be” sense to McAlpine’s soft exhortations, which struck me as a little ironic, since her Cielo might have garnered more of the appreciation it deserves if she herself had quieted and simply let it, the sky, be, in all the reverent glory she with the silent poetry of her camera was already showing us.

In the end, perhaps, von Trotta’s search for Bergman never quite finds him. But did he ever quite find himself? All he knew was that he was an artist.

Briskly paced, the film makes for a visually exuberant experience as it cuts quickly among photos and video clips of Kusama’s flashy artwork, commentary from critics, gallery owners and fellow artists (delivered both on-camera and as audio over images of Kusama’s work) and footage of the maverick artist herself.

Unfortunately, a solid premise can only carry a film so far, and Goldhaber fails to deliver on Cam’s potential.

Working with Keaton’s own material, Bodganovich is too busy praising the artist to bother saying anything novel about him.

Dramatically constructed and studded with sharp, thoughtful points of view,The Oslo Diaries nevertheless falls down on one point. The movie doesn’t get as much sunlight into the PLO viewpoint on the process, focusing almost exclusively on Israeli domestic politics.

The action scenes are complex masterpieces of speed and stunts that combine physical bits with fresh, exciting 3D effects.

The King tries to reclaim Presley by untangling the myths surrounding him. But with its dubious assertions and utter lack of empathy for its subject and his milieu, all The King ends up doing is further cloud our understanding of the musician.

Matt Tyrnauer’s documentary finally tells its full story, and an enthralling, sometimes absurd, sometimes very sad and at times almost unbelievable story it is.

while All About Nina does not add anything new to this genre, writer-director Eva Vives’ film does benefit from the female perspective. It also showcases a fearless performance from Winstead.

Cocote’s narrative structure exhibits a tidy symmetry, strongly suggesting that what ultimately transpires has a certain inevitability to it, that cycles of retribution and vendetta all too easily devolve into vicious circles.

The unrelenting gloom and oppressive atmosphere verge on the exploitative.

There’s something almost inevitable about these real-life characters getting a feature showcase, so unusual, engaging and inspiring is their journey from antagonism to deep friendship.

Joel Edgerton produced, directed and adapted the film—much too gingerly and gently to have the powerful impact that it should.

As much as you might want to look away from Dark River, you can’t. The direction is assured, inventive, precise. The performances are compelling. And while the writing is often a little too deliberately obscure, once it becomes clear where the story is heading, it moves forward with the force of classic tragedy.

Ostensibly a drama filmed with European realism, What Will People Say has the air and the unsettling effect of a horror film.

The dominant performance throughout remains Forster’s. He’s such a hard-charging engine that he reduces everyone within his earshot to a reactive mode.

Narcissister boldly skirts convention personally and artistically, and so does the film, by assembling a cogent narrative from acutely disparate parts, to explore her mother as the primary relationship of her life and inspiration for her art.

This is a riveting, important story in which the personal can’t help but be political.

Ultimately, Teen Titans Go! To the Movies is fun enough, if unmemorable. If you’re not already invested in the property, you probably won’t find enough in it to make it worth your time.