The actors bring emotional authenticity to the aftermath of trauma, but despite that and the handsome cinematography, there is also a persistent phoniness.

Director Trey Edward Shults made his debut last year with the indie drama “Krisha,” and this one’s a very different take on family dynamics — not at all your typical horror film.

Despite all of the hideous critters Hellboy encounters, there is a hint that things are considerably weirder elsewhere.

Two possible ways of regarding Please Give: It's shallow. Or maybe it's deeply shallow.

The title is to be taken figuratively, not literally -- is a top-notch study of family angst.

Never much more than hagiography that lets the context of its hero's death remain confused.

Beautiful to look at, with scrumptious period detail and a knowing performance by Choi Min-sik as the portly, goatéed painter. At the same time, Chihwaseon is slow and stilted.

Briski, a New York photographer, spent several years with the pre-teens. But she did more than just film them -- she tried to help them.

A deeply felt evocation of a place and a people by writer-director Matt Porterfield, who set this largely improvised film in his own lower-class Baltimore neighborhood.

Four tremendous films and nine years into the adrenaline-fueled, Reeves-led action series, director Chad Stahelski has yet to let his franchise noticeably dip in quality.

The issues are complex and not easily solved. But no matter which side you are on, you'll be moved by this intimate work.

After a promising start, writer-director Daniel M. Cohen pours on schmaltz straight out of the similarly themed "Diamonds," including the proverbial hookers -- with hearts of gold.

Demonstrates that sometimes letting subjects and the facts speak for themselves can be quietly devastating.

Probably the most definitive portrait of Johnson that we are likely to get.

Part urban thriller, part unorthodox love story, this well-acted portrayal of the shadowy realm occupied by London's illegal immigrants is buoyed by stinging social commentary and a surprising twist of intelligent humor.

Needs less talk, more music.

Essentially a weird series of nonsequiturs. I'd rather be watching a sequel to the much-maligned "Little Nicky" -- a Sandler film that was at least trying to do something interesting -- than this failed experiment in fusing high and low culture.

Gini Reticker's embracing documentary Pray the Devil Back to Hell shows how Taylor got his comeuppance from a coalition of tenacious Christian and Muslim women armed only with matching T-shirts.

Director Catherine Gund most successfully depicts the visceral impact of Streb’s work with her footage of the 2012 Olympics.

Based on the true story of the world's largest counterfeiting operation, The Counterfeiters is full of the weird details that, though unsurprising on one level, are so jarringly wrong that they seem fresh: As a reward for producing 134 million pounds sterling, the prisoners get a pingpong table.

After the Wedding is full of enough plot twists to supply a whole season of "Desperate Housewives."

Christopher Nolan's dramatically and emotionally satisfying wrap-up to the Dark Knight trilogy adroitly avoids clichés and gleefully subverts your expectations at every turn.

It’s as sprawling and pulse-pounding a fight as you’re hoping it will be.

Ghobadi (himself an Iranian Kurd) takes some gorgeous shots against the snow, but his storytelling is uneven and often slow.

Less grim than it sounds, Southern Comfort ends on a note of triumph for its endearing, gender-bending hero.

Variously been described as a thriller, a muckraking exposé and even a satire -- and its refusal to fit neatly into a genre is only part of why it's so utterly disturbing.

How dark is this comedy? It's a big hit in Ireland.

Directed by James Griffiths, this is the sort of hilarious heart-warmer that only comes around once or twice a year to offer a blessed break from darkness, snobbery and streaming schlock. It’s so easy to love, even if love doesn’t come easy for its characters.