[An] accessible and informative close-up documentary.

For anyone with a keen interest in this unique American musical form, Rejoice and Shout is a must-see and see-again.

Satisfying for devoted fans and might even win a convert or two.

M3GAN might be too frequently funny to be terrifying, but it’s never too silly to deliver tension and vicious thrills. It seems a safe bet that the killer doll will return, not to mention become an in-demand costume next Halloween.

Home movie footage shot by Judy during a period of Belushi's sobriety at the couple's summer home in Martha's Vineyard provides a poignant glimpse of the normal life he could have lived. That his early loss left so much potentially great work undone makes the documentary as much elegy as tribute.

An incredibly powerful story of renewal, commitment and the resiliency of the human spirit, this is a movie that should attract a large theatrical audience, and no one will go home disappointed.

Actors dominate with finely nuanced performances where every scene feels dramatically right.

Strong performances propel a movie that wears its influences (De Palma, Lynch) on its sleeve without feeling like a copycat.

What viewers take away from Kids is the sense that even after 80 years of hard living, it’s still possible to live a meaningful, happy and influential existence — an authentically feel-good message for these feel-bad times.

Although it feels all too familiar with its storyline about a bullied 15-year-old, King Jack boasts an immediacy that makes it compelling throughout.

Bong’s adventurous new film barrels forward with chaotic plotting, as is often the case with the director’s work. But thematic coherence remains frustratingly elusive.

The result is slightly less interesting and less appealing even as arthouse fare.

This atmospheric, expertly crafted little New England noir has droll dialogue, a female empowerment theme and a sly use of crime elements.

Even admitting that films like Cache (Hidden), The White Ribbon and Amour have raised the bar higher and higher, Happy End feels like it’s pulling its punches and not in their league. For one thing, it’s hard to pin down the theme of the piece.

Although Earth falls short of its potential, it still contains enough glorious photography to please its target audience.

Even for viewers who know much more about Burden than that thing with the rifle, it's almost certain to trigger a hunger for more.

Gibney is convincing on every front. And while Apple (big surprise) refused to cooperate — meaning that key players like Jony Ive and Tim Cook are all but invisible in this story — he gets enough of Jobs' collaborators on camera to lend emotional color to the portrait.

Wajeman is particularly skillful at obscuring the lines between right and wrong, setting his story in a a dog-eat-dog world whose moral compass is slightly askew.

Kahn never offers an easy way out for Thomas, even if the finale tends to wrap things up in ways that seem a little too conclusive. But his film mostly explores, with steadfastness and moments of raw emotion, the crude uphill battle faced by junkies on the path to recovery.

Though the film stretches out long enough to impress us with the difficulty of their journey, the four actors ensure that the two hours or so we spend in their company aren't dull.

It’s a familiar template, and Saleh’s direction can veer toward the heavy-handed in places, but it’s also an intriguingly damning portrait of the corruption currently hitting Egypt on all levels.

Alternately disturbing and brutally funny, and ending with the sort of capper that perfectly encapsulates its provocative ethos, this marks an auspicious directorial debut for Oscar Boyson.

There is much to appreciate in Poitras’ low-key, down-to-business approach which employs instinctive editing choices, and not her own persona (she never appears onscreen), to build the most revealing portrait of Assange and his WikiLeaks staff in the public domain.

There's no denying that this is a fascinating story, albeit one that raises far more questions than it answers.

It's full of wry observations about the confusion of relationships — female friendships in particular — along with droll insights about a writer's inspiration and whether drawing from real life constitutes a license or a betrayal. In addition to wonderful performances from an ace cast, especially Bergen in divinely flinty form, the production is a technical jewel.

Joshua: Teenager vs. Super Power is actually a rousing documentary on a youth movement against, essentially, educational brainwashing.

It packs an unsettling message of empowerment very rare in the social injustice genre.

If Am I OK?‘s tone occasionally tilts too far toward comedy (including in an oddly staged climactic confrontation) its laughs land far more often than not, and bring us closer to the characters by inviting us to laugh with them.