Songbird Bjork and artist hubby Matthew Barney team up in Drawing Restraint 9, and the spectacular result is exactly what should be expected from these one-of-a-kind creative oddballs.

At 162 minutes, American Honey may test some viewers’ patience, but for this one, it paid off with an unflinching portrait of middle America, a love letter to the open road and a dynamic newcomer in Sasha Lane.

Most of Ultimate X is comprised of truly exhilarating footage of men -- and one woman -- pushing their bodies and their nerve to the edge.

Bank's discursive but oddly riveting documentary, Last Dance, offers a glimpse of what was probably the most important, and conceivably the most bitterly contested, collaboration in Pilobolean history.

It manages to be both kinetic and dream-like at the same time -- "Run Lola Run" by way of David Lynch.

As North Korea undergoes a highly publicized change of leadership, The Front Line proves timely. In fact, one of the movie's army commanders looks like the north's new baby dictator, Kim Jong-un.

John Maloof’s documentary has an opening both apt and witty: Talking heads, one after the other, struck dumb by the mystery at hand.

Fascinating, beautifully photographed portrait of a vanished community.

Willis, who at 52 looks great in an intensely physical role and can still spit out wisecracks and insults with the best of them.

Wood, like fellow mega-franchise star Daniel Radcliffe, has found a comfy home in indie films. And he has the perfect presence for this one, in particular.

Expect a fast-paced, beautifully mounted and well-acted soap opera with overripe dialogue that plays fast and loose with history - just like they did in the '30s, '40s and '50s - and you won't come away disappointed.

The two youngsters are not polished performers, but that's actually part of the subtle charm.

Winslet and Brolin have wonderful chemistry together, and Reitman makes well-worn metaphors like steamy weather and pie making (the film has been embraced by the American Pie Council) seem newly invented.

Doesn't have the emotional heft of his "Children of Paradise," but it's still moving.

Pity the crowds expecting another cute comedy like "Date Night" who wind up at Crazy, Stupid, Love. It'll be like asking for a burger and getting served escargot.

While Murphy never manages to make this crazy quilt dramatically credible, he does hit the mark for laughs and has written some juicy scenes for his excellent cast.

Leonard takes advantage of one of Rylance’s greatest strengths — the ability to instantly switch from weak to strong. Behind every tiny smile is ferocity.

Scrappy and unsettling, V/H/S puts the majority of today's mainstream "scary" movies to shame.

Commendably, Carrera steers clear of preachiness in his exploration of a timely and relevant issue, and Bernal's transformation from naive priest to tortured adulterer to hard-nosed careerist is riveting.

More amusing than laugh-out-loud hilarious, but is never boring.

It is a phenomenal showcase for Ronan, who dares to be unlikable for the rare time in her career. Her natural charm and whimsy we’re used to from “Lady Bird” and “Little Women” is but a glimmer in Rona’s eye — and that little light is why the viewer roots for this troubled woman as hard as they do.

For those willing to lock into Reygadas’ mad wavelength, the beauty is worth the puzzlement.

This midsummer crowd-pleaser from the ateliers of Steven Spielberg and Ron Howard is still a great deal more rip-roaring fun than, say, the campy movie version of "The Wild Wild West."

Meier's tight focus on her primary characters pays off: Seydoux brings a strong array of emotions to a highly unsympathetic part. And Klein, whether plugging his ears with cigarette filters or suddenly embracing a woman he barely knows, is heartbreaking.

Despite having no previous film experience, Kare Hedebrant and Lina Leandersson give evocative performances as Oskar and Eli, respectively.

The entertaining movie from director Rose Glass, whose first feature was “Saint Maud,” is unsparing in its graphic depictions of violence, abuse and extreme aspects of the body. Many will find all of that stuff gratuitous, but it fleshes out this unsavory world and ratchets up the plot’s tension.

The movie's title might sound like a splatter-fest by Rob Zombie. But despite the theme, “Eddie” goes easy on gratuitous gore. What we get is a cerebral horror movie and a satire of the art world.

Top performances by Guy Pearce and Felicity Jones, though, make the film emotionally rich.