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.