So potent, it could change the mind of even the most staunch defender of capital punishment.

As Popper himself notices, his and the penguins' saga gets so endearing that it could have been narrated by Morgan Freeman.

Whether you’re a veteran Brando-phile or a newcomer, Listen to Me Marlon is a totally fascinating glimpse into the making (and unmaking, and remaking) of a legend.

Anchored by the performance of Shu Qi, who has come a long way from her days as a nudie pin-up. She's a first-rate actress.

Boy Erased is the second gay conversion therapy movie of the year, after “The Miseducation of Cameron Post.” Both are worthwhile. Where “Cameron” was an intimate charmer focused on the importance of camaraderie to get through hard times, the more dramatic Boy Erased is about accepting our family for who they are, in whatever condition they arrive in.

Short, sweet, raunchy and often screamingly funny.

Just as the story is minimalist, so too is the documentary-like film's look: long static takes and tons of close-ups. An epilogue allows viewers to come to terms with the film's tragic ending.

It’s Peele’s first film, but it has none of the rough edges or self-indulgence you’d expect from a rookie.

Encounters may lack the power of, say, the Herzog doc "Grizzly Man," because it has no bigger-than-life character at its nexus, but it does confirm the filmmaker as an iconoclastic master.

"HP6" is suspenseful and artfully realized. It's a definite improvement over J.K. Rowling's dimly written and exposition-clogged book.

Jenkins doesn't stint on the sickening reality of Wuornos' abhorrent behavior -- it's Theron's complex, deeply felt depiction of a thoroughly messed-up soul that forces us to look beyond the monstrous nature of her acts.

A thoroughly enjoyable caper that doesn’t outstay its welcome.

The dreamy drama Emile shows how a talented cast can turn a tentative plot into pleasant viewing.

They breathe originality into an oft-told story.

A raw mix of documentary and fiction, directed by Koji Wakamatsu, a veteran of soft-core porn ("Go, Go Second Time Virgin") whose anti-war stunner "Caterpillar" just played here.

Wood and Page generate a believable, prickly sibling closeness in Rozema’s unhurried but harrowing micro-portrait of how easily civilization could crumble.

Best of Enemies illustrates how even literary swashbucklers can be reduced to schoolboy behavior.

In disturbing detail, we see these aimless kids, who often appear to be 10 years old - or younger! - as they beg for money and food, sniff glue, sleep under bridges in cardboard boxes and fight off predators.

An elegant, quietly comical but slightly constricted period piece whose stately pace is all but offset by several impressive performances.

The kind of small gem that's becoming increasingly rare in American films.

For Your Consideration isn't quite in a class with Guest's earlier films like "Waiting for Guffman," "Best in Show" and "A Mighty Wind," which is not to say it isn't uproariously funny.

This Muppet virtuoso is so visibly thrilled to work in Henson's weird and wonderful world, and so good at bringing joy to little kids, you'd have to be a true Grouch not to be moved.

A sometimes glorious, sometimes disastrous folly.

A few university officials talk on camera, but not many do, and it will be fascinating to watch the fallout from this scathing indictment of a system that, the movie claims, has all but encouraged sexual predators to do their worst.

A joyous, toe-tapping celebration of a musical style born of sorrow.

Camp often means a lack of feeling and generalized disdain; not so in Spork, which has as much heart as "Sixteen Candles."

Schwartzman is perfect as Kurt, simultaneously compelling, ridiculous and creepy.

Both witty and poignant.

Does offer solid laughs, engaging performances and a captivating setting.

A witty mix of "Frankenstein" and David Lynch's "Eraserhead" - with a tip of the hat to Hitchcock's "Saboteur" - Puzzlehead is an indie delight.

Harks back to a 1960s idea of what a horror film should be.

A formulaic and predictable movie that combines minimal characterization with some irritating implausibility.

Mylan and Shenk provide an engrossing look at these bright, clean-cut young men and the obstacles they faced in "the land of plenty." In doing so, the filmmakers also reveal a lot about the American character.

An animated feature that revels in its low-tech wackiness.

A terribly funny sendup of the show that famously gave us “Waterloo” by ABBA in 1974, and now gives us a year’s supply of crazy. The Netflix film is the most enjoyable music industry parody since Christopher Guest’s folk satire “A Mighty Wind.”

Brutally funny documentary.

Its double-barrel satire is aimed both at those who curate their lives through merrily sun-dappled photos, and their followers, who drink it in as reality.

Propaganda is terror's best friend, but Paradise Now is clever enough to make that buddy work for our side for a change.

The performances by the attractive ensemble cast are uniformly solid.

The impressive first feature by Sergio Machado, a one-time assistant to Walter Salles ("The Motorcycle Diaries"), is a trip through a grungy world of crime, sex and cockfights.

With Paul Newman gone, you couldn't ask for a better senior-citizen representation of Butch Cassidy than Shepard. In his best performance since "The Right Stuff'' turned him into a reluctant movie star, Shepard makes Blackthorn worth seeing.

Big-Hearted and often quite funny if crudely made, Fat Girls cleverly subverts the clichés of high school comedies to serve an autobiographical story about an overweight gay teen in a small Texas town.

Bennett, who’s been largely off the radar for a while, is heartbreaking and, eventually, fierce as her character begins to crave change.

Stylish - if predictable - thriller.

There are so many echoes of “The Umbrellas of Cherbourg” that it starts to feel like a barely disguised sequel. But those reminders, and the rather trite journey-of-self plot, are just decoration. This tender film works to remind us of how much we still love Deneuve, and succeeds in scene after scene.

The beefcake Swayze role, Dalton, is taken over by an intense Jake Gyllenhaal in this entertaining and, for better or worse, less mockable update of the cult classic.

The film is an often ugly character study of a hard life that only got worse the more famous Martin got.

Thanks to Jordan's bravura storytelling, Breakfast on Pluto is one of very few movies this year truly worth remembering.

Mitchell's adventurous, big- hearted, pansexual mosaic of New Yorkers looking for love and orgasms (not necessarily in that order), is a rare example of a nonporn film that doesn't exploit graphic sex as a gimmick.

As with "Distant," the dialogue is minimal, the takes are long, the narrative is laconic (too much so for many viewers, I imagine) and the cinematography is painterly.

Director-writer Jang Jun-hwan starts things off with a bang and never looks back, pushing up the excitement periodically.

Clearly a labor of love for all involved. Listen carefully on the soundtrack and you’ll hear the voice of Joanne Woodward as Ellie’s mom. Woodward is one of the executive producers of this lovely little film, which is dedicated to her late husband, Paul Newman.

Could do with a tad of editing itself. Other than that, there's nothing bad to say about this cool homage to the film world's unsung heroes: editors.

Proceeds along familiar genre lines. But the denouement comes as a surprise, the five women are great screamers, and the cinematography and music add to the general feeling of menace.

An irresistible documentary tribute that's as yummy and insubstantial as a sackful of Twinkies.

An engaging documentary.

Mirjana Karanovic (Esma) and Luna Mijovic (Sara) give powerful performances as Zbanic imbues a simple story with a powerful commentary on the Bosnian war's devastating impact on the innocent.

A first-rate example of good storytelling and well-timed — while not excessive — gore. Its disgusting, hilarious conclusion left me eager to see what’ll be next from director Jim Mickle.

If only "reality" TV was as realistic as Quitting.

A powerful account of how the American dream became a nightmare for one Laotian family.

I didn't buy how The Next Three Days plays out - but I almost bought it, and that's good enough for a thriller.

Catnip for the art-house crowd.

It could be set during the war in Iraq, but the brutal French film Intimate Enemies takes place in 1959, at the height of the Algerian struggle against French rule.

A summer delight that also provides a quick cultural education.

A gentle comedy, brimming with hope and faith in human resilience.

We also begin to suspect that Deraspe is putting us on - that this is a mockumentary, not a documentary. About the time that a bunch of grown men and women - stoned and drunk - start playing spin the bottle (spin the bottle!), we're certain that she's tricking us. Or is she? It's anybody's guess.

Blame It on Fidel doesn't aim for the profundity of Costa-Gavras films like "State of Siege" and "Z" - but who's complaining?

‘A brave man and a brave poet.” That’s Bob Dylan talking about Lawrence Ferlinghetti, poet, painter, publisher, anarchist, civil libertarian — in this lively documentary by Christopher Felver.

These two stars bring believable chemistry and emotion to a film that might otherwise wilt under the weight of so much melodrama.

A funny-but-tortured femme-fatale performance from Florence Pugh as Russian assassin Yelena Belova, brutal and tactile fights and a merciful lack of confusing backstory makes for the most enjoyable MCU entry in a while.

Strictly for art-house types, particularly those familiar with the director, who makes no concessions to mainstream audiences. You have to abandon any preconceived notions about movies and allow your mind to be seduced by the mystifying, occasionally humorous world of a one-of-a-kind filmmaker. You might even find yourself becoming a fan.

Martin Scorsese's Rolling Stones "documentary" (i.e. concert film) is a first: the only Scorsese film that does not feature the Stones' "Gimme Shelter." Really. I think the Dalai Lama even hummed the guitar solo in "Kundun."

A refreshingly positive ode to the power of the Internet to bring far-flung artists together and change lives in the process.

A heartwarming family fable that parents and kids can enjoy.

Lore is the sort of movie you’d already expect to rip your heart out, but that doesn’t diminish the tragedy when it does arrive.

Like "Once," this film is a tender little piece of heartbreak.

This So-Called Disaster was the father's sarcastic term for their relationship.

The movie is frightening not only because of the severe effects the ailment can have on the human body but also because it shows that many doctors are unable to diagnose, let alone treat, the malady.

The John Wick action series doesn’t get bogged down in such silly trivialities as character development, plot, dialogue, morals or any of the usual rubrics most films follow. Instead, these fun flicks are just loosely connected, extremely violent fight scenes starring Neo from “The Matrix.” And why the hell not?

The latest in a series of entertaining IMAX underwater documentaries.

Presents an intelligent, profound and at times heartrending slice of Taiwanese middle-class existence - as seen by characters at different stages of life.

The sweet-faced Kelly is a lovely and humble storyteller, and her enduring affection for John, Paul, George and “Richie” is palpable.

Acceptably diverting Saturday night at the movies, especially if you're willing to check your brains at the popcorn stand.

This bittersweet comedy is a fine showcase for a pair of distinctive and appealing talents.

White trash meets white collar in Extract, Mike Judge's workplace comedy -- which contains more reality than the last five documentaries I've seen.

Hogg (“Exhibition”) sets The Souvenir in the 1980s but shoots her subjects with the long-armed reserve of a period piece; the ivory-complexioned Byrne bears a resemblance to 18th- and 19th-century European portraits glimpsed throughout.

The Israeli feature For My Father is a rarity indeed: A sweet, sentimental movie about a suicide bomber.

What I love about Green’s style is he has both a sense of the grand — he gives Michael’s mask the cinematic weight of Moses’ Ten Commandments slabs — and the goofy.

A rousing indictment of a barbaric practice.

The dance routines are so hilariously spectacular — and the film is such good-naturedly inclusive fun — that you may not miss the absence of anything resembling dramatic conflict in what’s close to a feature-length concert film.

Has its sluggish stretches, but the superb level of acting is more than ample compensation.

Terry’s talent is so magical that you may wish there were longer snippets of his playing. Still, this is a wonderful portrait of two artists strengthened by friendship.

But like he seems to do with every project these days, Grant runs away with the movie.

Jennifer Lawrence's smart, funny and altogether masterful performance as a troubled widow in David O. Russell's Silver Linings Playbook simply blows away the competition in this year's race for the Best Actress Oscar.

It’s almost impossible to resist The Lego Movie 2 for its continued everything-is-awesomeness, even if it does fall back on the trope of playthings terrified of being relegated to the storage bin.

Maybe my favorite thing about this About Last Night, though, is that it’s proof romantic comedies don’t have to be so predictable.

As the horror genre has, in recent years, grown more sophisticated and clever, you heave a sigh of relief to be handed a thriller that’s so dumb.

Two of Winehouse’s oldest friends also contribute, giving deeply sad accounts of watching their goofy, fearless pal disappear into a haze of flashbulbs and self-destruction.