Robinson is more adept at the surrealism than the satire, and when the latter takes hold toward the end, the film falters; however, Grant doesn’t, and the film is worth a look if only for his fearless, funny work.

Serendipity leaves one with a pleasant feeling few films generate: that of wanting more.

One wishes that the directors would have devoted more time to his past, how he came to be interested in Philosophy, and how he came to harness it as a tool useful in conflict resolution. Even still, McAverey and his staff’s love for the children comes through clearly.

When Braff keeps the tears and the kookiness in check, he takes us into some unusual, interesting areas of the human psyche. And makes us laugh a good deal while he's at it.

Successful in kicking off a largely amusing and visually engaging franchise.

The comedy eliminates potential fans by choosing to take the tennis aspect of the film so seriously. With that being said, those who understand the game of tennis, its wonky terms, and appreciate the sport, will value the effort writer-director Gina O’Brien put forth when constructing First One In.

Yet another light weight PG-13 film that poses rather well as an honest to goodness horror film.

It is well worth sticking your face into Hell Hole, as there is a prize inside the box of wood chips.

The film teeters on a fine line between soulful triumph and B-movie cheese.

The Buildout is a haunting journey into faith, friendship, and the fine line between devotion and delusion.

Unfolding and sounding like a novel, Hartley's ensemble of lower-class losers clash and repel in a startlingly, unpreachy lesson about the importance and danger of influences.

The surprise is the remarkable script from screenwriter (Zack Weiner) and the sharp-eyed direction from Daniel Robbins who work to take an idea we have seen a million times before and turn out something new and fiercely entertaining.

Overall, not a great film, but definitely worth a viewing, especially to those who have seen any other Coppola film released this decade.

What makes Swiped really stand out are the actors involved.

I’ll take a bold if misshapen curiosity such as this over safe Hollywood fare any day.

Speed of Life reminds us that the art of our idols, the fire, and the passion, survive the artist and that their immortality is you keeping that fire burning.

Slipstream is a properly bizarre journey.

Impressively stays away from the cheese and the sap that ordinarily accompany holiday pictures.

As twists start to pile on, I Am Mother shifts from eerie to tedious, but there’s too much on display to outright dismiss.

An intensely moving and oftentimes haunting film; a compelling look at the unique life paths of three totally different women.

The oddball, fun factor potential is present in Nude Tuesday. But as it stands, it’s just another slightly strange, will they or won’t they get back together, love story.

It will be interesting to see when the mainstream catches up to the street action of underground slashers. It seems there is an unquenched need for bleeding out there. If you see The Patrolman, you best pull over cause it will cave your head in.

Transporter 2 was directed by Louis Leterrier and he exemplifies a perfect style for this type of film by showing us the action without editing it to bits.

For a family film with after-school-special vibes, it lands exactly where it should. Dakota and Alex take center stage with a story and characters that are engaging for kids and make for distracting cinematic “comfort food” for adults.

While the sequences involving Robert attempting to confront his dying wife are certainly heart-rending (perhaps a tad too forcefully), the movie’s most sublime moments happen in the present, when Putnam focuses on the man’s recovery. The bits where Robert encounters the insects he’s after are as magical and ephemeral as said butterflies.

In terms of "narrative," the film keeps excellent pace, maintains your attention, and educates you on psychological ramifications of memory.

Manifesting and examining every parent’s worst fear, and bound to spark debate, this M.O.M. packs some acid with your lunch.

If you have a strong distaste for ICE as I do, you will love the way these kids get one over on them in The Infiltrators.

Them That Follow is a dark and richly atmospheric experience. Despite its missteps, this is one snake-infested cinematic pit worth investigating.

Yes, there is a very palpable lesbian erotic undercurrent pervading this film. However, the reason it's so palpable is because it's so subtly and deftly handled...AND it's only one thread of the film's storyline.

One of those docs that takes the life of an individual and surrounds it with other people's stories that are just as absorbing.

A bit too somber and detached for its own good, Human Factors nevertheless marks another strong entry from a filmmaker who – after several shorts, a documentary, and one other feature – is just getting started.

It ain’t high art, but it is a fun flick.

The Death of Snow White is definitely not your grandmother’s fairy tale, but well worth a look if unbridled gore fuelled by unending revenge is your cup of ichor. And do stick around for the credits.

It is a great character study that ranks with Paul Thomas Anderson's epic "Magnolia."

A series of conversations that are sometimes clever and sometimes feel like screenwriting exercises about the details of life, but are always well acted.

Overall, I would recommend seeing this film if you are a fan of Mapplethorpe’s work, the New York art world, or of Matt Smith. He gives a bravura performance which outshines everything and everyone on screen.

Were it not for a few missteps, coupled with an abrupt resolution that doesn’t do justice to the preceding depth, Doyle would have had a little gem on his hands. As it stands, I almost love Almost Love.

While Villains Inc. is overstuffed with ideas and story threads, it’s a fun and funny ride that’s worth your time. The cast, led by the ever-capable Everton, is a shining example of comedic talent. Each actor’s impeccable timing and seamless interaction with one another make for a delightful viewing experience.

Davenport is a blind actor who gives the proceedings some added depth because she’s able to convey a dramatic, manufactured scenario with some truth. See for Me, for its familiarity, offers enough thrills to merit seeking out.

This documentary's narrative feels deliberately chronological, as the storyline adheres to the major steps of Trumbo's career. Nonetheless, the film realizes many great moments to make the writer's story – often reduced to a footnote – into an intriguing one.

Not the greatest thriller of recent years, but far better than most.

What elevates Path of Blood above a mere rote retelling of a far-flung conflict which was has since subsided, is how deftly the filmmaker knits in the footage filmed by the Al-Queda members themselves with other source material. By doing so, the filmmaker both humanizes these young men — some of them boys really — who seem like lost souls in search of some ill-defined adventure while at the same time magnifying their pitiless violence and zealotry, not an easy feat.

The young romance sub-plot may be a tad unnecessary, and the film ends up rather slight and anticlimactic despite the hefty subject matter. There’s no denying Huston’s mastery though, both behind and in front of the camera. Here’s to the filmmaker adding more vivid gems to his already-impressive portfolio.

In the end, Restoring Tomorrow reminds us that you can restore an old historic building to its original beauty, but it’s ultimately about the people.

Yes, this "Harry" does indeed fly -- just don't expect the movie to soar into the higher altitudes of imagination.

Exceptional performances and unexpected twists of plot keep the story from descending into overwrought melodrama.

We may not learn about Casanova the gambler or the spy, but we get to see a vulnerable side previously unexposed.

But even Grant's uninspired work can't ruin the agreeable, overwhelming atmosphere of fun and romance.

By reducing the impact of addiction to wearing sunglasses indoors and singing badly for Scandinavians, all cautionary benefits of Houston’s tragedy are lost in the stage lights.

"We are who we are," is the mantra for this grim urban drama. That human escape velocity can be awfully hard to reach with all those bad influences hanging around.

Hatching is the very essence of a midnight movie and one that will undoubtedly find a sizeable cult following. Sure, its metaphor isn’t as deep as it thinks it is, but this is certainly a solid start for director Bergolm and lead Solalinna.

Strongly infused with an unmistakably exotic Bollywood flair.

The entirety of Give Me Pity! is more of an artistic treatise, a museum piece, a series of single-woman monologues, than a coherent, you know, film, and that’s clearly the intention. One can do a lot worse than take a look inside Kramer’s head, and this one makes her other explorations of humanity, Please Baby Please and Ladyworld, seem positively conventional. Quite the feat.

The Resort takes a while to get to the good stuff, and the rhythm is interrupted every now and then. But the scares are effective, the cast does what they can with the material, and the cinematography is great. The island and the resort are captured well, and the strong reliance on setting does help smooth over some of the bumpier spots.

The movie also finds the right balance of light and dark for the material. Too dark and people would be depressed and disgusted by what’s on the screen, too light and it would have no effect. Deadgirl gets it just right. No small feat if you think about it.

Onscreen, A Huey P. Newton Story is memorable, but it must have been something to see on stage. Roger Guenver Smith gives a striking, extremely physical, performance.

The film is not without its problems, some inherent to Wilde's original play.

By embedding the story in a Latin American folk tradition and examining colonial Christian missionary practices, the filmmakers offer more than just scares; they ask questions about cultural supremacy, belief, and the cost of spiritual conquest.

Loosely based on Linklater’s experiences growing up in the 1960s, Apollo 10 ½: A Space Age Childhood is not so much a space adventure as a pleasant reminder of the essence of youth and the comfort of memory.

The animation in Pocahontas is a testament to the constantly evolving skills of the various animators involved, drawing characters that manage to make an impact, even if only a small one.

With this film, I believe that the strange and wonderful legend of Daniel Johnston will only continue to grow.

It comes as no surprise that Rasmussen worked on productions like Lars von Trier’s Melancholia, a clear visual and stylistic inspiration for Ghabe. Coupled with Ehsan Kalantarpour and Ida Sundqvist’s otherworldly score, Castro and his team intermittently achieve a transcendent effect.

Let's not kid ourselves: There's something about Javi.

Oddly engaging and has me wishing I could spend a week observing Jeannie, Lauren, and Merrill...you know, without a camera as a mediator.

An original and highly memorable comedy, and mention should be made of Ebiri’s work beyond filmmaking: he is also a film critic for New York Magazine, thus giving proof that those who review films for a living can also turn around and make a damn fine movie.

Even with its over-the-top performances, Gaudi Afternoon is an emotionally and intellectually subtle work.

The ride has plenty of ups and downs, but it’s definitely one worth sticking around for.

The movie suffers greatly from very uneven pacing, a bloated run time, and an underwhelming villain.

Full of enough legitimate red meat to incense salivating Democrats who can't wait to tear into a pound of Bush's flesh in November. Yet, this film should truly frighten partisans on both sides of the aisle.

Seek out Last Words if you have an interest in the fall and decline of humankind. It is one of the more stark and striking versions of the end of the species these eyes have born witness to.

Even though the story covers familiar ground, it provides enough tension and humor in the presentation to make it worth watching

Fans of Roth will gobble, gobble this up.

Fascinating and beautiful film.

The Road to Patagonia is a beautiful travelogue. If you enjoy nature documentaries or even surfing documentaries, this one is for you. Check it out. It’s radically glorious.

Onlookers is a novel exercise in audio and visual presentation. Natural light, loads of wild sound, and the environment of Laos are presented plainly with zero artifices or embellishments. If you’re looking for a new kind of travel film, this is for you.

Sure it’s brainless fun, but Formula 51 is a trip well worth taking.

If you're a fan of the early Ritchie comedy-crime thrillers, then this is not only right up your alley, it's a long lost relative returning home.

In addition to the socio-economic impact, Good Hair also explores how hair care affects the African-American community in confidence (both personal and race-related), romantic relationships and every day life.

Keeping Company is a delirious carnival ride at the intersection between rapacious greed and murderous insanity, and definitely worth your uncomfortable laughter.

It is a sprawling, ambitious and very long look at so many things, it's almost a miracle he was able to wrap it up in just two hours. And yet, for a film that is principally about death, the conclusion is surprisingly life-affirming, especially coming from Kaufman.

A heartwarming and entertaining romantic comedy, Fly Me to the Moon brings a fresh twist to the moon landing era. Strong performances from Scarlett Johansson and Channing Tatum offer an enjoyable viewing experience.

Generally, this film is lively and entertaining. The dialogue among the four principals trips along at a brisk pace, never becoming overly dense or plodding.

Under the veneer of a blood-curdling horror venture with heightened narrative beats, Disappear Completely is a thrilling film about unchecked ambition.

Dean’s style of method acting and sheer charisma jumps off the screen (along with artful cinematography).

When a movie does so much right – it’s unique and visually arresting and, at times, legitimately moving and surprisingly scary – it’s hard not to wish for something more complete, something that fully and entirely connects.

Then Came You has a little of every romantic film that you’ve seen in the past two decades, and even though it’s not quite original, it still is a good film that will give you a lump in your throat. The talent in front and behind the camera are reasons alone to give this film a watch.

More "Heat" than "Eraserhead". It's all good. Just don't be disappointed if it's not what you were expecting. Try to enjoy this for what it is.

Ultimately, Lee lets the men and their show speak for themselves as showmen, plain and simple.

While I personally love this movie, I’m not sure how well received a film about a frustrated filmmaker seeking creative solutions in his personal life and work life is going to be to the average moviegoer.

The performances from the film's three stars are all top-notch.

Udo Flohr’s Effigy – Poison and the City is a fantastic film to watch if you’re a fan of period dramas. The leads give terrific performances, and the setting is visually beautiful for history buffs.

Perrier is an undeniable talent and as a first outing, Jezebel is a powerful statement.

Will warm your heart without making you feel guilty about it.

Official Secrets is an incredibly smart film that celebrates the whistleblowers of the world. It also shows the occasional futility in these efforts as well. It illustrates the all-powerful machine that is government and how that machine can destroy whoever it wants pretty damn easily.

The Pixies are back together, the music is as unbelievable as ever and what more could you ask for?

With a talented, seasoned cast, and the capable directing hands of Jason Cabell, Running With The Devil is a dark, suspenseful, and fascinating look at a subject often debated. Definitely worth a look.

Much like anyone in the throes of recovery, this journey is not a nice, tight, three-act Hollywood story with a perfect dramatic ending. Finding “normal” is a distant speck on the horizon for Hogancamp and this film depicts only a small segment.