The Dark Hours is one of those rare gems out of Canada.

Honk for Jesus, Save Your Soul is a wicked read of religion and a showcase of comic talent.

At last, the hopeless romantics and the gorehounds can feast at the same table.

The whole film plays like a hunk looking at himself in the mirror.

While not a remarkable action/race film, Fast Company does boast some innovative and impressive footage captured from inside a dragster that would not have been the same directed by anyone else.

Lowen does a masterful job of presenting the anti-choice movement without spin.

Darkly comic, disturbing, and fun, Piercing is a vulgar little thriller that is one you watch without the one you love.

Hellsgård and writer Olivia Vieweg have crafted a morbidly beautiful, uniquely character-focused, and decidedly feminine take on familiar apocalyptic tropes, and while it doesn’t always entirely deliver on a narrative or visceral level, Endzeit – Ever After emotional resonance – and the singularity of its worldview – is undeniable.

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.

While the film isn’t completely perfect, director and cinematographer Shona Auerbach shows that she’s a great new filmmaking talent.

Isn’t just a "gay movie." There are just gay people in it. Anyone can get into this lovable film.

For Carmen, Tibby, Lena, and Bridget, their sisterhood shines even brighter the second time around.

Well Groomed serves more to alert you that creative grooming is a thing, but most likely will find it hard to win over those uninterested in the subject.

What makes Banana Split, so astonishing is its story—written by the film’s star Hannah Marks and co-writer Joey Power. The script is fearless, and the four members of this love triangle (I know) are brilliantly created and well-developed characters.

Walking on Water is essential for any devotee of the arts, as this shows a project from fruition to dismantling, a full life cycle of an art installation if you will. I, for one, found it very fascinating.

The Beach Boys documentary has everything you’d want in a music documentary— a compelling story behind the nostalgia, the main figures being open and honest about the rise and fall, interesting conversations, and great music.

An honest look at the experience of a family who lives a yearlong tropical movie adventure on a remote island in Fiji.

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

It’s an old-fashioned escapade with a helplessly likable hero—a criminal who can’t help but be better at the former than the latter, despite his best efforts.

Even if you love all things Yiddish, there is precious little to embrace here.

Less Bond than simply boring, a tedious and overdirected race-against-time drama with a few espionage elements thrown in.

Burgundy and Carell's Brick Tamland, by himself, would be worth the price of admission.

Changeling is an almost universally impressive all-around effort, and is the best "dirty underbelly of Los Angeles" movie since "L.A. Confidential."

Knock at the Cabin is a thriller with great performances and will keep you on the edge of your seat from start to finish.

St. Agatha is a fine thriller that is much better than you will expect it to be. Bousman guides a coherent and nimble narrative to shocking and satisfying builds.

The film is described as “docufiction,” meant to present an authentic sketch of working-class Australian life. While we are not always seeing the real events, we are getting the concentrated essence.

An injection of self-aware humor here and there would’ve been welcome. Yet Blood on Her Name is a fine showcase for its star, and a sturdy debut from a director to watch.

The acting in the film is grade-A, with Stallone bringing the more mumbled Rocky from the first film spliced with some rousing inspirational monologues when the moment is right (not forced, not preachy… just perfect).