The blurring of fact and fiction has been a part of the Amityville saga since it became public, but for Lutz there's no gray area in his memories, whose power is undiminished.

The film, directed by first-timer Rocky Powell, has a different happy ending in mind, one that adheres to rom-com formulas in a manner that should give it a second life on basic cable. Just don't expect to fall hard for it.

Less a documentary than an acutely positioned marketing tool, Mindless Behavior: All Around the World delivers a chaotically high-energy burst of performance and behind-the-scenes footage for fans of the slickly produced hip-hop boy band.

It's a fun, nostalgic, informative journey. Aided by vivid archival footage and photos, the movie charts the evolution of the song through the Holocaust, the birth of Israel and the modern Jewish Diaspora.

K-11 has the makings of a cult movie campfest but little of the authentic wit, edge or outré vision it would take to get there. What's left is a dreary jailhouse drama that somehow managed to imprison a few notable actors within its lurid walls.

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.

It's best not to overthink the sci-fi love story Upside Down and just enjoy its dazzling visuals, dream-like inventiveness and lush romanticism.

Part manic comedy, part would-be heart-warmer of the "follow your bliss" variety, its odd combination of tones and situations leads to as many awkward, uncertain moments as funny ones.

This is Nancy Meyers territory, but leaden with passé observations about lovelorn women...and hardly ebullient as either oddball-pair comedy or housewife-revenge fantasy.

It's a tad overstuffed, but never lacks for interest. And Saulter, who serves as his own director of photography, has a poet's eye for detail, capturing the beauty of his native country, even in its most extreme poverty.

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.

The film has a sarcastic tone, like that of a friend who you never can tell is kidding or not, which eventually breaks through into a place of unexpected sincerity. Meeting this odd, idiosyncratic "Somebody" is a rare delight.

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").

Moll's restraint gives way to a tastefully overwrought checklist of Gothic imagery. In the cloistered shadows and the harsh Castilian sun, the visuals are handsome, even as the movie threatens to tip into parody.

With so many twists, the movie feels like it's trying too hard. Some moments are cleverly constructed; and others seem as if the filmmakers have left themselves no plausible escape.

The war crimes and romance stories theoretically run on parallel tracks, but the overall pacing is ragged and the dialogue frequently out of step with the characters we've met.

With its long takes and deliberate pacing, Beyond the Hills is demanding but always engrossing, even during its repetitive middle section.

A good idea for a ghost story is dead on arrival in The Condemned, a would-be thriller whose intended horror-tinged chills register as ho-hum hokum.

Though unevenly told and at times too fanciful for its own good, Electrick Children marks an intriguing feature debut for its risk-taking writer-director, Rebecca Thomas.

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.

It is a rare thing to witness the creative process. But in the excellent new documentary Gregory Crewdson: Brief Encounters, filmmaker Ben Shapiro gives us fly-on-the-wall access over a 10-year period to an acclaimed artist as he envisions, designs and executes his surreal commentary on small-town American life in the form of an epic photo installation, "Beneath the Roses."

Despite his cogent finger-pointing, nifty graphs and succinct highlighting of recent climate change history, longtime followers of the hyper-partisan topic may not find much terribly new or revealing here.

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.

The Silence is an exemplary German-language thriller, a complex and disturbing examination of guilt, violence and psychological torment that chills us to the core not once but two times over.

Sometimes sweet, sometimes scary, sometimes sour, Oz the Great and Powerful is a film that doesn't know its own mind. A partially effective jumble whose elements clash rather than cohere, this solid but not spectacular effort stubbornly refuses to catch fire until it's almost too late.

The powerful things we expect from War Witch are as advertised, but what we don't expect is even better.

It's all slight stuff with a typically oversold Bollywood score, but there are pleasures here and there.

The Last Exorcism Part II is an effectively unnerving, slow-burn supernatural horror tale. The film is smartly different enough from the original to survive on its own, though it lacks some of the first film's sense of surprise.