Sadly, this film's POV conceit -- in which all scenes are shot by the characters, whether they have a plausible reason to hold the camera up or not -- quickly becomes as grating as Kelly herself.

Aggressively quirky but lacking any real wit - unless you consider a lengthy monologue about the taste of semen to be side-splittingly funny - the film based on David Gilbert's satirical novel is a non-starter.

The film never achieves any real depth in its unabashedly admiring portrait. What might have made a mildly interesting short feels vastly attenuated even with its brief 72-minute running time.

A very sympathetic turn by Colm Meaney both lends box-office appeal and helps Byrne pull back from the saccharine possibilities inherent in the premise.

If the dreary Mystical Laws was designed by its creating organization as some sort of recruitment tool, then they clearly have a lot to learn from the Scientologists.

The film's power steadily and relentlessly builds over its long course, to a point that is terrifically imposing and unshakable.

One of rock's underheralded pioneers gets his due in Beware of Mr. Baker, an affectionate but unfawning portrait that finds the drummer of Cream still keeping the beat despite hardships both institutional and self-inflicted (heavy on the latter).

Thorny, blood-boiling and finely made.

The minor-key film benefits from Robert Carlyle's soulful performance in the central role, bouncing back and forth between dulled resignation and self-destructive anger.

This is a good premise for a comedy, but somewhere along the way, it got diluted and turned into a sappy, feel-good story of family togetherness.

Few true-life stories are as inspiring as that of Darko Kralj, the subject of Dejan Acimovic's new documentary The King.

The only film ever to be released with the promise of a reward--$50,000 for information leading to the arrest and conviction of the bomber--Who Bombed Judi Bari? is an engrossing account of the case.

Ra'anan Alexandroricz's documentary uses a simple framework - a starkly photographed series of interviews with nine retired judges and lawyers instrumental in administering the often arbitrary laws - to deliver a provocative examination of the nature of justice.

The comedy of errors surrounding the 11 years (and counting) efforts to rebuild the devastated Ground Zero site would be funny if it weren't so tragic. Filmmaker Richard Hankin manages to encompass both aspects in 16 Acres, his strikingly coherent documentary chronicling the tortured process.

Few will be unmoved by this film's subjects, including the great niece of Herman Goering and the daughter of concentration camp commandant Amon Goeth, as they relate the heavy burdens stemming from their fateful lineage.

A meticulously reported chronicle of a case that shook New York in 1989 and remains a mark of shame on the city ten years after the convictions were vacated, the film incisively documents a travesty of justice that echoes the infamous Scottsboro Boys railroading of the 1930s.

This version is unlikely to strike a similar chord with young audiences while severely disappointing older fans of the original.

The characters and settings are attractively designed, and the vocal performances have real color and a sense of fun that gently undercuts the treacly sincerity of certain obligatory kid-pandering moments.

A must-see for fans of the cult musician and a moving, if sometimes oblique, look at gender-identity issues, it will find many admirers in niche bookings.

The final installment of the immortal Bella/Edward romance will give its breathlessly awaiting international audience just what it wants.

A prime example of the type of well-produced, smartly cast independent features that Sundance has been helping launch into the theatrical marketplace over the past few years.

This narrative directing debut by Sacha Gervasi remains absorbing and aptly droll despite a few dramatic ups and downs and, led by large performances by Anthony Hopkins and Helen Mirren.

A quiet, nearly plot-free drama enlivened by beautifully nuanced performances by its four-person leading ensemble, In Our Nature depicts familiar dysfunctional family dynamics with a welcome lack of melodrama.

Damning documentary pairs an individual sex-abuse case with analysis of institutional dysfunction at the Vatican.

A bankable cast, a hint of controversy and high production values may play in their favor commercially, but Bosch and her producer-husband Ilan Goldman have come dangerously close to making a feel-good movie about the Holocaust.

An interesting twist on a classic plot, Dangerous Liaisons is essentially a deluxe soap opera. But with its beautiful cast and gorgeous production design, it is still a highly enjoyable way to waste two hours.

Charming at times but surprisingly cheap-feeling given the cast Heckerling has assembled.

A novel cultural focus, highlighting Guyanese citizens of Indian ancestry, isn't enough to sustain interest in the lifeless film, which will attract few outside the Indo-Guyanese community.

The anomie of entitlement pushed to poisonous extremes is the basis of this provocation, which is as frustrating as it is intriguing.

A dispiriting horror cheapie whose monsters-in-the-projects premise plays out like an anti-welfare parable.

Two arthouse "worlds" collide with amusing and intriguing -- if hardly earth-shattering -- results in cult Korean writer-director Hong Sangsoo's In Another Country.

A mismatched-friends drama whose overall sensitivity is belied by a couple of clumsily contrived plot points, Sean Baker's Starlet pairs story and setting perfectly.

A documentary so stuffed with eye-soothing images one prays it can seduce a climate-change skeptic or two.

Tony Kushner's densely packed script has been directed by Spielberg in an efficient, unpretentious way that suggests Michael Curtiz at Warner Bros. in the 1940s, right down to the rogue's gallery of great character actors in a multitude of bewhiskered supporting roles backing up a first-rate leading performance by Daniel Day-Lewis.

Deep, rich and resonant, Bones Brigade will provide fans with an enticing portal to revisit skateboarding's glory days and introduce the era to a whole new generation of enthusiasts.

Diehard fashionistas will likely want to see it, but few others will take notice.

Some of these trekkers are more resilient than others, but all seem to agree there's a high, maybe insurmountable barrier between them and civilians. However sympathetic we are, they say, we can hardly understand what they've been through. High Ground makes that difficult task a little easier.

It's all sufficiently well done and amusing enough to satisfy the appetites of fans who mainline this sort of thing, but it also sports a concocted, second-hand feel common to this sort of throwback homage.

Managing to make the lore of snuff films not just repulsive but mind-numbingly dull, the horror film Gut offers two characters -- and, one imagines, a filmmaker -- who should have put splatter films behind them many years ago.

Eccentric, misguided and occasionally charming and sweet, this curiosity item with Sean Penn in one of his nuttier performances is unlikely to be embraced critically or commercially.

Silent Hill is not a place you want to go, and that applies for moviegoers as well as this videogame adaptation's characters.

The movie is, by and large, smarter than the gross-out tactics that pass for hilarity in many mainstream adult comedies.

With a mix of retro eye-candy for grown-ups and a thrilling, approachable storyline for the tykes, the film casts a wide and beguiling net.

Jaume Balabueró's effective thriller Sleep Tight puts more value on slow-building bad vibes than on pulled-curtain shock, but its treatment of mental illness and voyeurism, lightly salted with pitch-black humor, will feel pleasingly familiar to fans of the older film.

Chasing Mavericks manages to sufficiently overcome the obstacles with admittedly affecting results.

Emphasizing local color but often unconvincing in its depiction of social customs.

Despite the story's elements of suspense, loss and determination, though, the picture has a mundane, low-stakes vibe that fails to make the most of its inspirational content.

Fans will love its intimate mood and class-act portrayal of its subject; Dion Beebe's cinematography boasts the expected polish, but the film will likely be most popular on small screens.

Making a feel-good movie about the Israeli-Palestinian conflict could be a recipe for disaster, but French writer-director Lorraine Levy manages to avoid many, if not all, of the pitfalls in her touching family drama.

Pusher struggles to rise above standard drug dealer/gangster fare and succeeds, but only in part, thanks to its strong cast lead by Richard Coyle.

The feel-good documentary is engaging enough to draw a respectable audience at arthouses, but distribs should work for exposure within communities like the ones this school serves.

The documentary offers little to further the national discussion on this divisive topic, but its evenhandedness and unstrident tone will go down well with viewers accustomed to more heated treatments of it.

Kate Clere McIntyre and Saraswati Clere's less than revelatory documentary that incessantly makes the point that yoga is really, really good for you.

La Vie au Ranch boasts an undeniable authenticity. But how much you enjoy it will depend on your affection for its aimless if attractive characters.

About as subtle as its subtitle, Gloria Z. Greenfield's documentary attempts to be both a comprehensive exploration of anti-Semitism throughout the ages and a forceful alarm about its modern-day threat. Not fully successful on either level...

Vivid if scattershot documentary examines today's sexualized culture by focusing on three subjects.

Feels slight and pretty ordinary by the end, with no edge or compelling insights, just a reasonable feel for teen attitudes and banter.

Strong, entertaining portrait of a hard-to-pin-down online phenomenon.

Fairly mild in tone and riffing -- if not quite ripping -- off a collection of horror classics that includes "The Shining," "Rosemary's Baby" and "Poltergeist," both the franchise's premise and its execution nevertheless remain rudimentary, with the narrative and character backstories representing more of a sketch than a fully realized vision of the supernatural world that Katie inhabits.

The resulting journey of self-discovery is not exactly profound in its revelations, but as usual with McElwee's efforts the proceedings are enlivened by his droll, witty narration, delivered in a sonorous tone.

Other than providing yet another meta-theatrical examination of the ever-blurring line between reality and artifice, Janeane From Des Moines emerges as a pointless affair.

This Chekhovian-style comedy about a group of neurotic actors endlessly kibitzing during a weekend at a country house might have some appeal for self-absorbed thespians, but "civilians," as they're derisively referred to in the film, will find little of interest here.

The Prosecution of an American President demonstrates that you can be deeply sympathetic to a film's arguments and still come away feeling unconvinced.

You almost feel sorry for Tyler Perry, stepping out of his own universe for the first time to try to expand his range and finding himself in something as thoroughly dismal as Alex Cross.

This witlessly antic sex farce about a yuppie substance abuser coping with myriad personal issues during a stint in a rehab facility pretty much fails on every level, other than providing big-screen exposure for a passel of veteran older actors.

Exhilarating, opaque, heartbreaking and completely bonkers – French auteur Leos Carax's so-called comeback film, Holy Motors, is a deliciously preposterous piece of filmmaking that appraises life and death and everything in between, reflected in a funhouse mirror.

This tale of an elite military unit assigned to rescue a war correspondent kidnapped by the Taliban is as frenetic and ultimately mind-numbing as a "Call of Duty" videogame, only without the thematic depth.

This absorbing drama provides Denzel Washington with one of his meatiest, most complex roles, and he flies with it.

Self-destructs in its quest for comic outrageousness.

Dramatically gripping while still brandishing a droll undercurrent of humor, this beautifully made film will certainly be embraced as one of the best Bonds by loyal fans worldwide and leaves you wanting the next one to turn up sooner than four years from now.

This middle portion of an intended trilogy will only play to the converted who have already seen Part I, and then only to the most gullible among them who will swallow mediocre filmmaking for the sake of ideology.

At once entirely frank and downright cuddly in the way it deals with the seldom-visited subject of the sex lives of people with disabilities, this well-acted and constructed film will, at the very least, turn the spotlight on this unusual topic.

It has little to offer a well-informed viewer.

The result is more promotional film - Springfield happens to have recently released both a new album and an autobiography - than intriguing sociology, although the rabidly intense middle-aged female fans on display are probably deserving of psychological study.

Clearly intent on inspiring viewers, the informational film makes a fine sum-up for those who've found the last decade's geopolitics too much to keep track of, but isn't promising in commercial terms.

Not quite able to make up its mind whether it's a parody or homage, this tired exercise wastes both its gorgeous visuals and a first-rate cast.

Smiley, is unfortunately less scary than, say, the prospect of your significant other accidentally discovering your search engine history.

Least Among Saints has the strained feel of a basic cable television movie, with modest production values to match.

The film offers a privileged perspective on crucial moments in Johnny Cash's career, and serious fans will likely warm to it on the small screen.

An engrossing two-hander combining the smart-talk microcosm of "My Dinner With Andre" and the sexual dynamics of a Philip Roth novel, David Trueba's Madrid, 1987 is more universal than its title suggests and holds a strong art house appeal.

Alternates languidly between wistful nostalgia and a more clear-eyed assessment of its protagonist's choices.

Gayby doesn't break a lot of new ground in the rom-com or parenthood fields, but its agreeable balance of humor and sentiment makes it worth adopting.

Few will fail to be moved by this portrait of selflessness in the face of near insurmountable odds.

Occasionally stupid (stretching even fright-flick conventions) but scary nonetheless, the picture should please horror fans.

The bottom line: The impact of this forceful indictment of our healthcare system is lessened by the sheer ubiquity of similarly-themed documentaries.

The picture is fresh and frightening, a strong arthouse contender certain to leave audiences talking.

Will charm many arthouse patrons, though some highbrow-leaning art lovers will find the subject unworthy of such attention.

This thriller about child sex trafficking is well-intentioned but dramatically stilted.

Cogent documentary makes the persuasive argument for the role that U.S. military and corporate interests have played in the influx of immigration from Latin American countries.

Unfortunately, the thin storyline isn't substantial enough to sustain the nearly two-hour running time.

A commendably restrained loser-turns-winner tale offering an unexpected second showcase for Terri star Jacob Wysocki, Matthew Lillard's Fat Kid Rules the World is less colorful than its grandeur-deluded title suggests.

This informative but scattershot documentary about the Occupy Wall Street suffers from a surfeit of facts and figures.

Inherently unpreachy but making its point more effectively than many participants in the debate can, the film should find vocal advocates in a niche theatrical run.

Meticulous care is evident in every aspect of the film. All three actors playing Pi are outstanding.

Its sharp writing and essential credibility make this small, intimate tale fresh and involving.

A deceptively slight film that strikes the right balance between realist family drama and earnestness.

In the spirit of the venture, the entire cast gets down and comes off all the better for it. Both Efron and McConaughey get very messed up physically, and both actors seem stimulated to be playing such flawed characters.

Refreshingly, V/H/S promises no more than it delivers, always a plus with genre fare.