It's not entirely satisfying, but there's plenty to savor in Chicken With Plums.

There are moments when the film is a little too precious, taking time to preen at just how clever it is.

There is such unflinching passion in the piece that The Paperboy deserves to be seen even though it can feel almost as flawed as its characters.

If you allow yourself to drift with it, rather than get frustrated by all the non sequiturs, Nobody Walks becomes a more enjoyable film.

A tense thriller that also has more on its mind than the familiar genre constraints it operates under.

Winstead, who appears in nearly every scene, can be compelling but, like the material, often pushes too hard, especially in Kate's climactic dive off the wagon. In a far more limited role, Paul is lower-key and convincing.

It all adds up to create a dicey morality tale that's as improbable as it is strangely believable.

Part muckraking nonfiction film, part performance piece, it is a nervy documentary guaranteed, depending on who you are, to enlighten, disturb or offend. Which is what you might expect from a man who describes his work as "a strange mix of Borat and the Economist."

A chunky spectacle, to be sure – overstuffed with plot and characters - but at times, it's an insanely entertaining one.

Quartet is very much a performance piece, which plays to Hoffman's strength - as an actor he knows when to allow this excellent ensemble breathing room and when to tighten the belt.

The narrative, though, is mere scaffolding for Barta's richly realized world, a kind of hand-hewn 3-D cinema that's testament to the limitlessness of imagination.

Statistical evidence could have strengthened the film's anecdotal argument. But in Nadya's anticipation and Ashley's depressive, disingenuous soul searching, Girl Model captures something beyond hard facts: portraits of delusion, innocent and practiced.

As one observer here aptly - and non-hyperbolically - sums it up, White is "a founding father of the current state of pop art."

It's simple stuff, but it works.

Enjoyably dishy documentary.

Perhaps the highs feel so stirring, in part, because they are surrounded by so much conventional din and clatter.

The movie is intimate in its telling, sweeping in its issues and stumbles only occasionally.

Even amid the naughty flourishes, with Vulgaria, Pang again shows himself to be a wise, playful chronicler of modern life.

Fisher's separate visit with several still-traumatized American World War II vets who helped liberate the death camps is also stirring - and horrifying.

Despite an awkwardly jokey title, Now, Forager has charm, intelligence and a cool passion for its principled characters - an appealing off-menu slice for hungry indie admirers.

What the film lacks in biographical depth, it makes up for with stirring visuals (including effective bits of split screen, time-lapse photography and animation), a vibrant score and an infectious, in-the-moment spirit.

In the end, despite the clunky mix of narrative formats, My Father and the Man in Black makes for an illuminating alternate history of sorts to the Hollywoodized version of Cash's ascendancy in "Walk the Line."

The film has a freshness that would never lead one to think it was directed by an 80-year-old while at the same time it has a sureness of tone, a certainty about itself even at its most audacious, that comes from the hand of a seasoned master.

While the movie's second half feels more consequential - and more impressively action-packed - than its first part, it also loses some of its initial charm and quirk via a protracted, often dizzying descent into a kind of booty-centric game of hot potato.

An impressive array of archival news footage, enlightening interviews with activists, politicos, academics and journalists, plus a dispensable Alfred Molina-narrated animated parable, round out this provocative, if at times overly ambitious effort.

As a tale of digital power-tripping both exhilarating and terrifying, We Are Legion stands as a useful 21st century narrative.

Saving Mr. Banks does not strictly hew to the historical record where the eventual resolution of this conflict is concerned, but it is easy to accept this fictionalizing as part of the price to be paid for Thompson's engaging performance.

Oldboy suggests a filmmaker doing almost as much soul-searching as the main character. There is a brashness in the risks taken, the very imperfections revealing an artist finding new inspiration. For Lee, this weird, brutal film seems to have freed him.

Bears has warmth and fuzziness in spades, especially when the lot of them snoozes on logs. Amid its heaping serving of cuddliness, though, the film doesn't sugarcoat the harsh reality and unforgiving elements with which the bears have to contend.

Though not without its mini-heartbreaks and melancholic turns, North Sea Texas explores emergent sexuality and first love with a refreshing optimism.

While his breakthrough documentary, "Dogtown and Z-Boys," cracked open the window on a largely unknown world in vibrant and visceral ways, Bones feels like an epilogue.

Delivery Man, a heart-tugging new comedy about fatherhood and family, is warm as well as wry.

Trim and effective though Closed Circuit mostly is, it does fall prey to excessive contrivance from time to time, as most thrillers do. But the fact that its fictional premise dovetails nicely with what we've come to know is true is enough to hold us in our seats.

Dragon has enough interesting left turns in style, mood and psychodrama to make it stand out.

Cumming is the linchpin, and the actor does an exceptional job of moving across the vast galaxy of universal emotions about partners and parenthood. He takes us to the heart of the matter in ways that matter most.

It's an adult look at the teenage years, an examination of how personal emotions inform political action, a noteworthy change of pace for writer-director Sally Potter and, most of all, the showcase for a performance by Elle Fanning as Ginger that is little short of phenomenal.

Despite the familiar setup, this is no "Same Time, Next Year," what with its hot-sheets trysts, full-frontal flashes and frank language. But the brief - sometimes very brief - encounters glimpsed here between the film's leads and sole characters (billed only as "Man" and "Woman") are inventive and telling.

An agreeable visit with comedy titans who clearly cherish the opportunity to regale their peers with war stories and opinions about the state of comedy today.

The movie contains enough fresh insanity and inventive visuals to make it an amusing cyberpunk extravaganza for most of its protracted running time.

Though Ze'evi's creative choices don't always serve the material — he unwisely attempts to pump up the emotional volume with an intrusive music score — his compassion for his subjects is clear, and their straightforward testimony is provocative.

Whether it's following the protests of a deceased firefighter's sister or tracing a humanity-restoring biography of vilified developer Larry Silverstein, Hankin's evenhanded film builds a concise, enlightening account from a decade of confusion.

Underlining it all is the exuberance and charm of the two main subjects, who make this world seem disarmingly innocent.

"Addicted" proves a strangely sad yet wildly compelling cautionary tale.

It feels like a blessing to have this production at all and we are fortunate it turned out as well as it did.

That's not to say Heleno, with its magnetic energy, sensual re-creation of 1940s and '50s Brazil and bold storytelling lacks punch; the movie is nothing if not watchable. But, by presenting more surface than depth to De Freitas' womanizing, arrogance and volatility (an implied closeness to his unseen mother is about as far as the film digs), it largely feels like an arm's length effort.

It's an enjoyable snapshot that effectively explores the colliding - often complicit - worlds of fame, entertainment publicity, the public's infatuation with gossip and the dogged paparazzi at the epicenter of it all.

I Am Not a Hipster is the kind of lovingly crafted, deeply affecting drama that gives small indie films a good name. It's also a terrific showcase for first-time feature writer-director Destin Daniel Cretton and his superb leading man, Dominic Bogart.

Ultimately, more than 800 demonstrators died amid countless displays of bravery and commitment. Uprising is a vital and valuable tribute to these courageous men and women - and to love of country.

The movie is an arty lark of ambiguous entertainment value, pulsing with melancholy. It's rarely less than interesting visually or tonally, thanks in large part to Korine's prurient sense of humor and the rich location textures and Crayola sweep provided by gifted cinematographer Benoit Debie ("Enter the Void").

The mythically powerful demigod is back on the big screen in the simply titled Hercules and the results are canny, fast-paced, and, for what the film attempts to accomplish, enjoyable.

Despite the best efforts of director Colin Trevorrow, Jurassic World's story of Indominus rex on the loose, while certainly acceptable, doesn't have the same impact as the initial film.

Bahrani sometimes pushes too hard as he reaches for big drama. But when the story works, it has a dark power that draws shrewdly upon his two leads' screen charisma.

Room 237 becomes not a film about "The Shining" or even a film about film. Rather, it is an examination of the nature of obsession, about how we are capable of convincing ourselves — and possibly others — that just about anything might be true.

Though there are many delicious little moments tucked inside, the action heads in so many directions it can be dizzying to keep up.

If "Back to the Future" made you bored and querulous, then the tumbling inventiveness in its sequel may come as a pleasant surprise. Of course, if you were among the 92% of the world who loved the ride in Dr. Emmett Brown's diabolical DeLorean back in 1985, then Part II is your oyster. [22 Nov 1989, p.F1]

I'm So Excited! will not stand as one of Almodóvar's defining works. But for some completely frivolous, naughty nonsense, it may be just the ticket.

Simon Killer...is Campos' bleakest project, which honestly makes me fearful for the future. Still, he is a provocative one to watch — willing to push the aesthetic boundaries as well as the story to extremes even when the risks don't always pay off.

This is the most cheerfully preposterous film of a jaw-dropping summer, which is not to say it's not fun, it's simply orchestrated Looney Tunes.

Steven Soderbergh takes Gray (who appeared in his little-appreciated gem "King of the Hill") places he's never been on-screen. Motion, color and brazen stylizing enhance what is at times a genuinely hysterical work on rationalized terror.[9 May 1997, p.F12]

[An] amusing, freewheeling documentary.

For the most part, The East is a dizzying cat and mouse game with all sorts of moral implications.

The Company You Keep is a shrewder, more satisfying piece of filmmaking than we've seen from Redford in a while, though not quite in the league with his best behind-the-camera work.

In an attempt to be both modern and traditional, this gorgeously made film ends up betwixt and between.

When something heartfelt occurs in this movie, you accept it without too much squirming. The disciplined yet intuitive way in which these actors connect is a model of ensemble performance.

The result inevitably pushes too hard at times and can't help but stray into melodrama, yet the film does an admirable job of transplanting the novel's thoughtful concerns into a fast-moving suspense context.

Mixes real-life situations and characters with fictionalized narrative threads to create a highly authentic slice-of-life drama.

The film leans a little too heavily on Pineda's wide-eyed disbelief at his sudden turn of fortune, leaving a feeling that it could dig deeper into the history and dynamics of the band. Yet Pineda's ebullience is infectious, and Don't Stop Believin': Everyman's Journey is a pleasant story of dreams coming true.

A Fierce Green Fire: The Battle for a Living Planet, adapted from the book by Philip Shabecoff, proves a worthy reminder of how much has been done to help heal our planet's ecological woes as well as how much remains to be achieved.

Don't look for The Sweeney to win any awards. It's not going to, not even close. But that doesn't stop it from being a briskly involving British crime entertainment of the old school. You've seen the type, and more than once, but the genre still has enough juice to take us for a ride.

The film's re-creations, some involving actors and some the girls themselves, aren't always successful, but the truths at their core are rock-solid. Illuminating and ultimately hopeful, despite the horrible circumstances depicted, Girl Rising stands as a testament to the power of information.

Kon-Tiki features a protagonist who was determination itself, a filmmaking style that is square as opposed to cutting edge, and a story that is strong enough to involve us despite its earnest underpinnings.

What you see is pretty much what you get. Fortunately, what we see is often vivid and lovely.

The filmmakers are a bit like their boys of summer, plowing into new terrain in promising ways but rough around the edges.

An ambitious and provocative piece of work that is intriguingly balanced between being a warning and a celebration.

It is the incendiary work of British actors Idris Elba and Naomie Harris as the couple in question that elevates our involvement in this authorized film version of Nelson Mandela's autobiography.

The Angels' Share leaves a warm glow.

What many American movies do well these days -- action, violence, hell-for-leather street spectacle -- Darkman does better. That may be praise enough. [24 Aug. 1990, p.F10]

The less seriously the genial French comedy Populaire takes itself, the more amusing it is. Fortunately, with small exceptions, this film doesn't take itself very seriously at all.

Its restraint is its strength. The focus on a woman's passionate hard work without need of marital-status back story is refreshing.

Baker's transformation from "spiritual father" to megalomaniac follows a familiar path of brainwashing and hedonism.

Chris Matheson's script focuses its energy on small, wickedly funny gags, half of which Robinson seems to have sputtered out as improv.

Byzantium's appeal is not so much its bite, which could use some refining, but the emotional journey its undead take. In Jordan's hands, the vampires are so very human.

Unfortunately, the film often feels somewhat random and disorganized, with Newnham and Grainger-Monsen never zeroing in on a cohesive narrative structure. Still, the movie's engaging subjects (including several parents) and valuable themes largely carry the day.

Loyalties are tested, futures are reconsidered and the body count climbs in the effective action import New World.

As might be the case watching any couple repeatedly exchange wedding vows and proclaim their eternal love, things can get a bit mawkish. But there's no denying the sincerity of Pat and Stephen's powerful devotion — to each other and to the vital cause of marriage equality.

Though Bier isn't as comfortable with the lighter side of life, the film is a lovely little lark with a good head on its shoulders.

Lynch's film is a work of steady chronological progression. Without straining for big-picture significance, it provides a composed look into the revolutionary spirit.

"Ain't in It" offers a warm and largely satisfying look at a man and his music and, for some, the end of an era.

The cast keeps us invested in Filly's furious resurrection.

A brisk, handsomely designed film in which its hardware, sturdy as it is, never overwhelms its humanity.

Star Trek III has a genuine spirituality, and, at its end, you may be surprised, especially if you're not really a Trekkie, to realize how moved you've been.

The Story of Luke is not a saga of epic proportions, but with a huge assist from Pucci's layered performance, takes a premise that could easily be movie-of-the-week sappy and finds a humanizing lightness.

There's an urgency about "Star Trek VI" that comes from its deliberate topicality. [6 Dec. 1991, p.F1]

Because no one compensates for a thin concept like the people at Pixar, there is a lot to admire in the animated “Dory,” including stunning undersea visuals and an ocean full of eccentric and engaging aquatic creatures. But, as the 13-year gap between “Nemo” and “Dory” indicates, this was not a concept that cried out to be made.

Antiviral is often fascinating to watch. If Cronenberg's not yet a dead ringer for his iconic dad, he's taken an intriguing first step.

There's something healing about simply watching Free the Mind, Danish filmmaker Phie Ambo's gentle, compassionate documentary.

Whether the San Pedro does its magic is of course the big question. Regardless, Silva works his, delivering not exactly the Holy Grail of road movies, but a very mellow summer high.

Part sword-and-sandal spectacle, part disaster epic, Pompeii accomplishes its ambitious agenda to largely engrossing effect.