Pieced together, these behind-the-scenes moments are a thrill for history buffs. From the moon landing to the resignations, this is raw Nixon.

Not all of the twists work, but most are self-knowing enough to keep you guessing until its (literally) groundbreaking conclusion.

The eccentric chocolatier Willy Wonka (Johnny Depp) can't feel pleasure, even though he's surrounded by it, so it's weirdly appropriate that the movie isn't "fun," even if it's amazing to look at.

A natural crowd-pleaser, this year's big Sundance award winner is both overly familiar and surprisingly fresh.

A long sit for those unfamiliar with Proust's literary quest and output, but the view is sensational.

Moore brilliantly unmasks the inanity of the arguments used in the debate over gun control in America. He then undermines himself by leaping into the blame game without supporting his central thesis, that the media is what makes teens like the ones at Columbine turn around and shoot up their schools.

The Trials of Henry Kissinger serves as both a prosecution brief on the above charges and an unauthorized biography.

The result of Moskowitz's sleuthing is Stone Reader, a combination mystery, book celebration and -- sorry to say -- intrusively annoying self-portrait of the filmmaker.

No picnic to watch -- Leigh's camera is unsentimental and unsparing.

Does an uncommonly good job of summoning all that goes into a masterpiece - erotic tension, financial considerations, even the sensual, elaborate grinding and mixing of paint colors as per 17th-century requirements.

Geraghty relies too heavily on facial expressions and mannerisms, but those who appreciate visible effort may be seduced. There's no denying he works hard to keep us on the line.

This story doesn't go well with popcorn, and you won't be able to shake it off like so many blockbusters. That said, it's likely to be the most unforgettable film you see all summer.

The father is the only one who can leave the house to go to his factory job, and that seems like a paradise for viewers trapped watching this clinically shot claptrap.

Watching politics and the people in it can be disheartening and depressing. Here’s an antidote: This energizing, uplifting, sharp documentary from director Kevin Gordon.

Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they’re both so committed to seducing their audience, it’s a lot of fun watching them try.

Its straightforward approach is notably lacking the divine inspiration of its subject. But Don McGlynn's gospel documentary delivers so many moments of artistic ecstasy, we can forgive the plain wrapping.

A faithful and beautifully impressive transition to the screen of Robert Bolt's superb historical play.

Intermittent shots of actress Emmanuelle Seigner embodying the lyrics are surplus.

Narrated by Nicole Kidman, this poignant documentary tells only half the story of three Sudanese "lost boys" who emigrate to America. Though it doesn't delve as deep as it should, this movie will still break your heart.

A pitch-perfect gem.

This rousing story of the comeback colt comes close to a modern-day Frank Capra film without the pandering or mawkishness. Yes, it's a bit hokey, but if you fight the movie's gait you'll miss the excitement of the race.

Beautifully acted and exquisitely photographed, director Claude Miller's superb drama, from Philippe Grimbert's autobiographical novel, is awash with the ripples created by unlived lives.

There is a vengeance motif that is worked out in a way that is both emotionally satisfying and completely unbelievable.

As a virtual tour of what Earth Day is about, kids ought to be entranced. If it helps them get greener, even better.

What this rich film does go into — in a lengthy tangent that’s less punchy but important — is the impropriety Jobs trafficked in when he allowed himself and high-ranking Apple-ers to be granted backdated stock options. They got wealthy as their product was being made, amid some scandal, for a pittance in China.

The dubbing from German to Polish is off-putting, but it is Schlondorff's best film since his classic "The Tin Drum."

At first, Elie Wajeman’s moody French drama looks like so many other stories to come before it.

The film peels back the layers of a mystery. Who knew what, and when? And how could someone choose this path? The film is rich with artfully framed interviews of newly discovered family members, like Reuveny’s quarter-Jewish German cousin considering a religious conversion. Even the music and finely observed interiors are so cinematic that you often forget this is a documentary.