Should please die-hard fans as well as viewers who have never heard the band and its anthem, "Kick Out the Jams."

Shot through with ’60s London energy, illuminating on several fronts and featuring bits of many great Who tracks, the film is nevertheless a mess that should be taught in film schools to illustrate how not to edit a documentary.

Nothing salacious, and no dropped bombs here. Stan & Ollie portrays the pair less as hot-headed collaborators than a bickering married couple.

What follows is a hilarious, slam-bang series of chases and battles that cross "Gremlins" with "Assault on Precinct 13," the two most prominent of many genre films quoted by Attack the Block.

If you’re going to invest three hours watching a movie about a convicted stock swindler, it needs to be a whole lot more compelling than Martin Scorsese’s handsome, sporadically amusing and admittedly never boring — but also bloated, redundant, vulgar, shapeless and pointless — Wolf of Wall Street.

As this eye-opening documentary shows, the suits who run MLB are the real bad guys here, treating the aspiring ballplayers as so much sausage.

It’s only a matter of time before someone turns Louise Osmond’s crowd-pleasing documentary, about people in a working-class Welsh mining village invading the snobbish “sport of kings,” gets turned into “The Full Monty” on four hooves.

This year's actress to watch is Elizabeth Reaser, who delivers a tour de force as a determined German mail-order bride who comes to 1920 Minnesota in Ali Selim's captivating indie Sweet Land.

If nothing else, the mere sight of two popes drinking brews and watching a soccer game together is one of the more surreal things you’ll see at the movies this year.

It's a bit less good than McCarthy's earlier films -- Jeffrey Tambor has a large, superfluous role that abruptly disappears, and Ryan, a fine actress, makes a less than entirely convincing spouse for Giamatti. This one is a crowd-pleaser nonetheless.

Cheung and Nick Nolte seem unlikely co-stars, but co-star they do in Clean, giving gritty performances under the direction of Frenchman Olivier Assayas.

Call this a profile in courage.

Worth seeing for McTeer's touching, funny and richly detailed performance, which should put her on the map in Hollywood.

A major disappointment, The Cider House Rules pales by comparison with the gutsier, more full-bodied adaptation of Irving's "The World According to Garp."

Leconte turns up the erotic heat in the most gorgeously photographed black-and-white film since Wim Wenders' sublime "Wings of Desire."

Meanders along in a confused, confusing way for what feels like hours.

Dr. Godard drops and quotes more names than you’d find in a week’s worth of Page Six, but lots of luck figuring any of this out before dozing off. The good thing about Goodbye to Language is that you’ll wake up with no side effects, albeit your wallet will be $12 lighter.

The climate-change documentary Time To Choose makes the disaster movie “The Day After Tomorrow” look like a model of judiciousness and restraint.

Anderson’s film is told via a prologue and three episodes that bring to life the quirky publication’s stories. They just barely engage the audience as we watch the director’s entire mobile phone contact list show up for about 15 seconds each.

When Gilliam is finally forced to admit defeat, it is nothing short of heartbreaking - for audiences, too, as the few shots that made it into the can hold such promise.

Overflows with psychological intrigue, something often missing from such offerings.

Jack Black gives the performance of his career in the title role of Bernie, under the pitch-perfect direction of his "School of Rock'' director, Richard Linklater, who expertly crafts a black comedy with a deceptively sunny surface. It's the best movie I've seen all spring.

By the time two hours had dragged by, I felt a lot like I had sat through a five-hour wedding.

Part political thriller, part National Geographic travelogue, Tom Peosay's documentary is a distressing look at China's 50-year repression of the people of Tibet.

By refusing to consider that Dickens and Ternan ever brought each other any happiness, the movie is more Victorian in its attitudes than even some Victorians were.

Reitman directs with an empathy for mothering that never shies away from its darker side.

There are several adorable musical numbers that make excellent use of Adams. Segel's dancing is . . . well, he reminded me of a huge star: Big Bird.

Perhaps this year’s timeliest film — as well as, unfortunately, one of the hardest to sit through.