Far from feeling like a eulogy, the tone of 306 Hollywood is magnificently playful.

The movie does a superb job showing the mental and physical preparation and effort required. And for all that, doubt and a little bit of fear persist, souring Honnold’s first try at a climb.

It puts the ever-controversial M.I.A. in an intimate context perceived not only by herself, but also by her close friend, who complements Arulpragasam’s candid, camera-facing, self-interrogative recordings of over two decades with other archival material as well as his own work.

It’s the closest you can subject people to a horror potluck without being "The Cabin in the Woods." So why can’t the six writers of this story have more fun with this premise?

For devotees, the essence of the Little Women story remains, and, for newcomers, it is a sweet film that should inspire them to explore the book and the more traditional adaptations. It has a sad loss, a joyful reunion, a love story, a writer finding her voice, and one of the most endearing families in literature.

Nothing about it makes a lot of sense, but then, nothing about classic old comedies starring people like W.C. Fields or Laurel and Hardy made much sense, because they about oddballs getting into trouble and then trying to get out of it.

If only the dialogue and visuals matched the daring of its ideology.

Even if White Rabbit feels like the ultimate acting reel, it’s albeit for a talent you immediately start to root for.

Nappily Ever After is as much a polemic as it is anything else. In a confrontation with Clint, Violet says she is sick of how much brainspace is taken up with her hair. "It's like having a second full-time job," she exclaims, exhausted.

Judy Greer assembled a monumental cast for her directing debut, A Happening of Monumental Proportions. Then she stranded her fellow actors with material that doesn’t even begin to tap into their talents.

The attractiveness of the scenery, and a quiet, dignified performance by Ms. Peña in what could now be her last movie appearance, wind up being the main redeeming values here.

Michell’s film allows us the privilege to spend an unscripted hour or so with the four acting goddesses during their routine visit to Plowright’s home in the English countryside, and though our time with them is brief, the very thought of our world existing in their absence is almost unbearable.

So hectically overdone in style that it already feels dated despite its timely leanings, Levinson’s film vaguely shelters a compelling story about today’s unforgiving online mob mentality beneath its convoluted layers.

Fonda’s own interviews are candid and insightful. Her regrets about the way she allowed herself to be used by the North Vietnamese are sincere but practiced.

The chemistry is palpable between Knightley and West, whether they are in love or estranged, and Knightley gives one of her best performances as a girl with spirit and talent who becomes a woman with ferocity and a voice.

Basically watchable.

Science Fair melts your heart almost as soon as it begins, with an emotional clip that went viral of a young winner who is so overjoyed, he cries on stage while holding his award.

The new film combines the filmmaker’s distinctive stylistic verve and droll wit with the talents and charisma of Mexico’s leading international movie star, Gael Garcia Bernal.

Unfortunately, The Public Image is Rotten often feels like an illustrated airing of grievances that also happens to be an in-their-words history of Lydon's best band.

Everything gets upended in the film’s final third, when its languid pacing gives way to sped-up plotting.

The frustration with Lizzie is that a lot of it works, but the style - elegant, hushed, and period-appropriate - acts as a damper on all the fraught possibilities. Lizzie is at war with its own impulses. You can sense there's a sexy overheated melodrama in there, yearning to burst free of its corset stays.

The Children Act is perhaps a bit stilted in the overt way it sometimes attempts to spell out its arguments. But director Richard Eyre’s film still poses sophisticated questions around family, religion, marriage, law and the delicate boundaries that can or cannot be crossed in each institution.

It’s a really difficult film to capture tonally and even narratively in a review, largely because it is such a stylish, visceral experience that it demands you give yourself over to it actively instead of passively analyzing it.

At times, Hale County This Morning, This Evening evokes the work of Thai filmmaker Apichatpong Weerasethakul, whose films “Tropical Malady” and “Uncle Boonmee Who Can Recall His Past Lives” tell the stories of people and places primarily through their visuals.

This message is preaching to the choir, much more likely to reassure those who are already believers than to engage those who are seeking answers.

It's suspenseful, but also hilarious.

It’s a brutal slog of a film, admirable in its fearlessness in terms of dark subject matter, but the brutality doesn’t feel worth it in the end.

The documentary connects his present day work ethic to his past, and contrasts yesteryear’s heartbreaks to the large, family-filled parties he still enjoys. Jones did so much more than just unleash some of pop’s most successful records of all time.