Black Power Mixtape's contemporary audio, though it tries hard to involve us, can't hold a candle to this kind of footage. But if having these current voices on board helped get the luminous glimpses of the past back on the screen, we owe them a vote of thanks.

Akshat Verma's script is imaginative and funny, the film's stars are engaging and Delhi Belly adds up to pleasing escapist fare.

What really sets "F&F6" apart is the blinding speed with which it shifts between over-the-top action, that speedometer inching toward 800 mph at times, and soap opera emotions that bring everything to a screeching halt. It's enough to give you whiplash … in a good way.

It's an eye-popping wake-up call revealing how the USDA and FDA have increasingly waged war on America's small farmers even when they can prove they are contributing healthful products to our food supply.

Singham is as boldly overwrought as an early silent melodrama, and its comic relief is extremely broad.

A straightforward, intimate and heartbreaking chronicle of the 2009-10 farm seasons for three teens, smart and sensitive, who have been following the crops with their parents for as long as they can remember.

Not only is Polanski very much in his comfort zone with this material, he also has cast it impressively, staying away from any of the actors who played the parts in either its London or New York productions and finding players who match up well with Carnage's juicy dialogue.

There will be many who won't be able to get past the language in This Is 40. There will be others who will worry that the king of callous has gone soft on them. I'm just happy to see one of this generation's most influential comic minds back on track - the laugh track.

A series of strong emotional crosscurrents tied to the notion of winning and losing are in the hands of a very eclectic and capable cast.

Johnny Knoxville offers comic relief as the goofball proprietor of a back-road gun museum, which conveniently allows for an odd assortment of weapons to be used in the climactic battle. It's that kind of movie.

Quirky, creepy and increasingly involving, the Montreal-set thriller Good Neighbors throws a trio of offbeat apartment dwellers together under one shaky roof as a serial killer wreaks havoc around town.

Director Stephen Daldry has taken great care in looking at it through the eyes of a precocious New York City boy in a film filled with both sentiment and substance.

The object isn't to stir you into what-if feminist outrage so much as to let a culturally magnificent era's societal inequalities act as a dissonant countermelody to a famous artist's biography.

It's fun to see this kind of familiar material done with intelligence and skill.

The darkly funny Australian charmer Griff the Invisible introduces its titular hero to us as nighttime caped crusader first, mild-mannered daytime office drone second.

Thoughtful and moving, if often heavy-handed, The Whale follows the remarkable story of Luna and will appeal to animal lovers of all ages.

The gentle drama offers an intriguing look at the contemporary version of an ancient ritual, and is anchored by the on-screen work of the writer-director's father, Martin Sheen. But Estevez doesn't push far enough, opting to focus on generic lessons in camaraderie and the primacy of the moment.

A documentary as gentle as its subject: the story of a boy who realized his dream and, on the film's evidence, received a lot of encouragement and support along the way.

The resulting roller-coaster ride, well shot and sharply paced, is so friendly to the corporate types its predecessor targeted that Nissan is sponsoring screenings.

The picture benefits from its performances, notably Evans' roguish appeal as a guy simultaneously driven and destructive.

It's handsome, large-scale escapist fare - and has as its costar the formidable, versatile Kristin Scott Thomas.

There is that allure of the Old West that is hard to resist, and there's plenty of grist in the story worth milling and mulling.

Bullet to the Head is an adrenaline shot to your movie memory if the blunt, gleefully dumb, no-nonsense ways of '80s-style action flicks are your nostalgia drug of choice.

At times, Happy, Happy is cutting comedy at its brutal best; at times, it slips on the black ice. Still, the love of life is exuberant, the pain exquisite.

In making Shut Up Little Man! An Audio Misadventure, a documentary that tells the story of not just the tapes but their strange and increasingly sad afterlife, Australian filmmaker Matthew Bate faces the challenge not only of visualizing the audio artifacts but also of finding a way to position their makers and explain all that has transpired since the tapes were initially recorded.

There is an appealing nyuk, nyuk nostalgic spirit to The Three Stooges. To fully appreciate this paean to slapstick and silly nonsense simply requires that cynicism be temporarily shelved and the thinking side of the brain shut down.

Margaret Whitton strikes a pleasing balance between amusing and sensitive, largely eluding the potentially precious minefields in their way.

Much in this wholly absorbing and poignant documentary is familiar from numerous previous Holocaust accounts, but Mago and her quiet sense of moral obligation provides a fresh perspective.

The humor is sly and not overplayed either. Typical is the English class with Mr. Angelo (Adam Goldberg) trying to prod his bored students into parsing the difference between satire and irony, which is what the filmmakers are up to as well.

As much as filmmakers Lev Anderson and Chris Metzler capture the energy and attitude of the band's early days, it is the more recent footage of Fishbone still making the most of it - despite years of personality conflicts, personnel changes and commercial disappointments - that has an emotional appeal.

It's all presented with equal parts humor and sensitivity, though Buford doesn't much delve into the potential landmines here - racism, classism, exploitation - allowing the power of assimilation and opportunity to carry the day.

The film has a grand cast, with Emily Blunt, Ewan McGregor, Kristin Scott Thomas and Amr Waked at the center of this very clever tale of modern eco-issues intertwined with old-style political intrigues and New Age romance.

Loosies (slang for singly bought or bummed cigarettes - and a nod to Bobby's commitment phobia) proves a largely enjoyable ride.

At a beefy 6-foot-4, Neeson certainly looks physically imposing, but it was the notion of casting someone who can actually act in an action hero role that was the counter-intuitive concept that made both films - Taken 2 is more a remake than a sequel - so successful.

This amiable, old-fashioned film is no world-beater, but it underlines why, appearances with empty chairs excepted, it is always a pleasure to see this man on the screen.

As Pianomania gradually reveals, Knüpfer is able to do this so well because he is as much of a crazed perfectionist as the pianists themselves, maybe even more so.

A youth culture backdropped by the crumbling edge of California is rendered with punk rock energy and grace.

Its strong special effects make its simulated battles effective and, echoing the book, its story line touches on a number of intriguing issues.

Takes a fittingly inventive approach to the story of an operative whose MI5 code name reflected his supreme talents as an actor.

The film is very much like a home movie in trying to tell its story of families and feuds complete with the bad lighting, bad camera angles and meandering observations. Though you will wish for more polish and insight, its unruly action is hard to resist.

These profiles are frank, absorbing and heartbreaking, if also a bit inconclusive.

The Big Fix presents a compelling array of damning testimony from EPA officials, journalists, scientists and politicians as well as emotional scenes of distraught residents.

It's unlikely the movie will gain the same ardent following as Raimi's debut, but it offers enough good-time gore, goofiness, scares and screams to leave an audience feeling a certain elated exhaustion.

Though he has competition, especially from the folks playing the visiting royals, Murray is very much the reason to see "Hyde Park."

These varying motifs are not exactly woven together; in the use of them, instead, the picture runs a certain risk of being episodic. [27 Jun 1925, p.27]

The result is an unhurried, visually compelling look at a man and his music - as well as of a bygone America filled with shuttered downtowns and the ghosts of such late musicians as Elvis Presley and blues pioneer Robert Johnson.

The movie treats a girl's burgeoning sexuality as neither epic nor problematic, or mutually exclusive of feelings of love, but rather simply, refreshingly, as one part of maturing.

A movie you keep expecting to fizzle because of its punching-the-air gracelessness, but there's something weirdly effective about the artistic desperation, which includes inserts of chalkboard animation and to-the-camera testimonials.

He (Burton) has used that tonality deftly here, it keeps Frankenweenie visually stunning and the sensibility light. It's too bad the tale, like Sparky's wagging appendage, keeps falling off.

Really more of an effusive autobiography of the 84-year-old singer-actor than a traditional documentary, so be prepared for something close to sainthood in its tone.

With storytelling economy and dramatic precision often missing from today's independent films, Batmanglij augments the building blocks for a nifty paranoid thriller with sharp commentary on our faction-centered society and the pitfalls of reinvention.

The film is at its best when Dafoe is simply going about the ritual tasks of his character's work, setting up a camp or laying traps in the wilderness.

Though the film flirts with being in a sense too intimately drawn from Jaye and P-Orridge themselves - more context from those who knew P-Orridge before the couple got together would have been useful - the sense of intimacy created by Losier is remarkable.

If Frederick Wiseman's involving new documentary Crazy Horse is any indication, that old rule about how you get to Carnegie Hall - "practice, practice, practice" - applies equally well to that Parisian temple of self-described "nude chic" known to its intimates simply as "Le Crazy."

This ambitious first feature film about the period made entirely by Rwandans (shot in a remarkable 16 days), while hardly an all-inclusive look at this complex conflict, paints a heartfelt, fairly restrained picture of a nation under siege.

Aided by a nimbly voluble script by Kat Coiro and Ritter, it emerges as an amusing kaleidoscope of contemporary urban angst and romantic aspirations.

A well-researched and iconoclastic documentary that is both thoughtful and troubling, The Pruitt-Igoe Myth is indeed a cautionary tale, but what it cautions against is the lure of easy judgments derived from prejudices and ignorance of the facts.

With its modest scale and sharp observations, writer-director Liza Johnson's first feature has the quiet impact of a short story.

It's a bit precious in its narcissistic point of view, but still a kick to watch the hopelessly devoted astronaut wannabe fulfill his wildest dream.

By making the movie as much about the women as Yunus and his theories, the filmmaker brings a sense of balance to Bonsai People that would have been easy to lose given the international economist's long and much-honored career.

Despite its wobbly tone and stumbles into implausible melodrama, the film succeeds as a study of realignments among friends and family, a gently cracked mirror held up to the insanity that would soon devastate the region.

It's not "On Golden Pond" by any stretch, but it is nice to have Fonda back in the fractious family way.

The effect is both visceral and thoughtful, demonstrating a knack for cinematic dread rarely shown by today's manipulative horror meisters.

An intriguing and intelligent first effort from indie filmmaker Robbie Pickering, digs deep into the heart of Texas for its soulful tale of small town saints and sinners and a road trip to redemption.

A film whose poignancy is hard to deny whatever side of the abortion debate you fall on.

This funny, sick twist of social satire is certainly locked and loaded, even if its aim is sometimes off.

There is a great deal of playfulness between the couple that will touch the romantic in most.

This time out Lee looks to bake a touch of twee-ness into the film in the hopes of keeping things light, though more often than not, the film's flourishes come off as Wes Anderson-lite.

Love in the Buff may not be one for the ages, but it is one for right now, and shows up countless lifeless Hollywood romantic comedies. Pang's nimble, incisive writing and direction and his winning leads give proof to the rom-com ideal that a film can be funny, romantic and connected to modern life.

The film's three-pronged narrative does a fair job of laying a spooky groundwork for the revelatory emotional sadism that lies behind most acts of evil; it just takes a bit of clunky exposition to get there.

The secret, which "Part of Me" captures quite nicely, was to just let her be.

Netanyahu's letters, read with sensitivity by actor Marton Csokas, help to fill in gaps with their vivid and thoughtful poetics, whether he's discussing the horrors of war, his nostalgia for Jerusalem in the '50s or his outsider's view of "empty, meaningless life" in the States.

It's hard to say if the two ever really mesh or if they were intended to. Here seems motivated by a tone of searching and yearning, not of finding a single way.

Though it never plays like a polemic, the film has so much it wants to say the emotional power that might have made it a classic is undercut.

Though overlong, Hui's valentine never milks the drama for tears, maintaining an unsentimental focus on the central duo's playful chemistry and the loving way Ah Tao's attention to detail is repaid.

By the end, Fightville feels authentic about this world, where success may be measured in wins, but the balance of unrelenting brutality and self-discipline needed for those wins is a trickier equation.

Minn, who often appears on camera, packs this grimly compelling, if slightly padded film with strong archival TV news footage, plus wrenching testimony from the relatives of several innocent bystanders gunned down around the El Paso-Juarez border.

Having seen the show on stage, I wondered if Birbiglia could morph the ideas into an equally funny movie. He hasn't quite, but he's come pretty close.

White House Down is a hoot and a half, a shameless popcorn entertainment that is preposterous and diverting in just about equal measure.

Fortunately, Pajot and Swirsky don't overdo the minutiae (this is a movie even non-gamers can enjoy), offering just enough insight into the creative process to feel enlightening.

John Enbom's slow-burn script avoids overloading the action with backstory or psychologizing, and Bloom strikes the right balance of diffidence, panic and blank-itude to keep things creepily on edge.

Back in the director's chair for only the second time, the filmmaker, like his main character, is a little unsteady on his feet. But thanks to his stars, the film - like the book - is a smartly observed study of a troubled teen's first year in high school.

You can't cure what you don't understand is one of the film's sobering messages.

Much like the image of Wright presented by the movie itself, Wish Me Away is graceful, sincere and heartfelt.

At times The Heat gets messy, and the comedy is not always pitch perfect. But they're cops. They're enemies. They're friends. They're opposites. It's funny.

Stiller's sensibility creates a movie that's smarter than you think it will be.

"Dawn's" vision of masses of intelligent apes swarming the screen as masters of all they survey is even more impressive than it was the last time around and reason enough to see the film all by itself.

Bhargava's naturalistic approach to capturing the sights and sounds of a city in full revelry on rooftops and in the streets is colorfully vivid - reminiscent of Wong Kar-Wai's silky urban baths - but it threatens to keep the human drama at arm's length.

Évocateur: The Morton Downey Jr. Movie is as fair a portrayal the weak-chinned warrior will get — and fairer than he deserves.

With observant fluidity and that grounding point of Qi's desire to fight once again, Chang roots the film in personal, individual stories, keeping larger metaphors for the nation at the edges.

Campbell Scott's strong narration (well-written by Allentuck) and fun vintage musical selections effectively round out this provocative portrait.

Although the sentiment threatens to flatten out an intriguingly nervy vibe, Brooklyn Brothers Beat the Best has plenty of rhythmic charm about its responsibility-challenged strivers.

Téchiné is a restless director, a fastidious storyteller who is not interested in what less adventurous movies have to say about human relationships. He wants to dig deeper, even if the results aren't always clear.

With its gorgeous big-sky vistas, stirring shots of the majestic mustangs and intimate bits between trainers and trainees, Wild Horse proves a warm and memorable ride.

The film takes some deciphering, but once a viewer cracks its code Alps opens up into something expansive and rich. Part of what makes Lanthimos so uniquely masterful is that he remains in control while refusing to point toward any singular interpretation.

Wherever you stand on healthcare and the fact that uninsured people nationwide use emergency rooms for basic services, the documentary The Waiting Room is a revealing portrait of the often tough transactions between patients and hospital staff at the urgency level.

Hara-Kiri builds and builds as well, but its revelations are more character-derived that action-oriented, so the film never reaches the cattle-on-fire craziness of its predecessor.

Solomon Kane succeeds by embracing its identity as a straightforward genre exercise, complete with bone-crunching and blood-spurting action. By not aiming for more, it hits its target.