The film's earthy frankness is refreshing.

A compelling, at times bone-chilling study of the male character in crisis.

Not a very visually interesting documentary its simply one head talking to the audience, with no film clips, photographs or other diversions. But its awfully hard to turn away.

Even at his best, Sharma doesn't have sufficient acting chops - or enough Hanks-like charisma - to hold the screen alone for more than 70 minutes with the CGI Richard Parker (as well as a zebra, a hyena, an orangutan and a rat who quickly become food for the ravenous tiger).

The scariest, creepiest and most elegantly filmed horror movie I've seen in years - it positively drives a stake through the competition.

Honorable, worthy and windy, Fences is essentially a PBS episode of “Great Performances” that is inflated for the big screen without ever quite belonging there.

Sounds boring, but it's not, thanks to Marker's whimsical irreverence.

Solomon and Genovese remind us that all witnesses can be unreliable, in one way or another. The emotional impact comes from the gentle way the film reveals Kitty Genovese as a loving, vibrant person, and not as a symbol.

You’ll begin “Twinless” with basic expectations, and you’ll end it with your mouth agape. And then you’ll ask the most satisfying question there is after first encountering an exciting young filmmaker’s work: When’s the next one?

This strange and eerie noir is more a collection of knockout scenes than a fully realized story.

Beautifully photographed over the four seasons - including Christmas, for the park's century-old bird census - Birders: The Central Park Effect is full of grace notes.

While I needle “Conclave” for being far from realistic, its meticulous detail is evidenced immediately by the ceremonial removal of the papal ring from the corpse and the sealing of his apartment. Visually, the entire film’s a stunner.

Mother is yet another winner by Bong, one of Asia's most talented directors.

A tough, well-acted little indie.

Trouble is, while the social milieu is nicely realized, other parts of the drama are not. Too often Burshtein cuts off a scene prematurely, darting away just as the crucial moment of emotion or confrontation appears.

Compelling viewing, even for people who don't care a bit for the punk scene.

Director Malik Bendjelloul expertly paces this strange and moving film, half mystery and half meditation on art, fame, the music biz and the definition of a meaningful life.

Carney’s film (unlike his disappointing previous effort “Begin Again”) is mad, irrepressible youth incarnate, by turns as exuberant as “The Commitments” and (nearly) as heartfelt as “Once.”

Lewis, from the TV series "Band of Brothers," gives a super performance, but the revelation here is young Breslin, who was in Garry Marshall's "Raising Helen" and M. Night Shyamalan's "Signs."

Vaughn is so committed and so unrecognizable here, he actually convinces his rapt audience that a murderous rampage through the penitentiary system is a brilliant idea.

Before the slightly surreal (self-consciously so) climax, there are some fine set pieces, including a disastrous dinner party that amply showcases Rivette's wonderfully light directorial touch.

The Law in These Parts more than accomplishes its goal of provoking a discussion about imposing laws on people who have no say in making them.

Burtynsky doesn't preach. He's content to let viewers make up their own minds from his eye-opening and eye-pleasing images.

This movie sends you into the night thinking, maybe even a little afraid. Bravo, Mr. Fincher.

The finale - a shootout in a church - seems inspired by Hong Kong filmmakers like John Woo and Ringo Lam.

Not many people are making silent horror serials these days, but Canadian filmmaker Guy Maddin pushes his love of lurid melodrama to the limit in his latest demented treat, Brand Upon the Brain!

Coppola’s movie is packed with many similarly smart, but never egotistical storytelling decisions and is easily one of the finest films of her career.

This eye-popping, inspired and often-demented (in a good way) cross between "The Red Shoes" and "All About Eve" channels horror maestros David Cronenberg, Brian De Palma and Dario Argento.