Although it’s clear that her dauntingly complex personality contributes to her abilities as a superior storyteller, Feuerzeig and Albert now ask us to believe a proven unreliable narrator’s account of her own life, which largely lacks corroboration.

There's an emotional logic to the action and imagery, carrying viewers along even if they're not quite sure if they're rooting for the innocent man or his troubled attacker.

It's messy and leaves an unusual taste on the palate, but Bellflower has a strange, ugly-sweet appeal that couldn't have been produced without the schlocky entertainments that have channeled the imaginations of gifted but impressionable kids for decades.

While director-writer Liford...hits a bit of a snag with an abrupt mood shift in the last 15 minutes that doesn’t feel true to the prevailing vibe, he usually hits the perceptive mark.

Provocative and hard-hitting, Every Last Child is a chilling reminder that even diseases once thought eradicated are still capable of rearing their ugly heads as a result of ignorance and prejudice.

For all the horror and despair of its subject, Leslee Udwin’s documentary about the December 2012 crime is in many ways a hopeful portrait, focusing not just on the attack but on the ensuing protests and policy changes.

Music naturally plays the central role here, but the film usefully lays in historical and political details that lend it more heft and poignancy than most films of its type.

Suffern puts this tragic story to purposeful and, in some respects, inspiring use: The power of forgiveness can be remarkable, and some countries in the world have actually improved over the past 25 years.

Miike’s facility for the sharply sketched portrait, in between bouts of bladed mayhem, remains as shrewd as ever.

Tagging along with the now octogenarian Jean Vanier and meeting some members of his surrogate family, Randall Wright's Summer in the Forest champions his vision by quietly watching it in harmonious action.

The writer-director's first feature has much going for it, above all a striking performance by Emilie Piponnier in the title role. Neither a fallen-woman melodrama nor an encomium to guilt-free sex work, the complicated moral tale has strong art house potential.

A spellbinding love letter to Hong Kong and the movies.

With no commentary beyond audio clips and visuals composed almost entirely of historical footage, Periot uses the radicals’ own images and words to show how their discourse evolved over ten years from progressive to militant.

This is among the most enjoyable art-docs of the last couple of years.

Cummings works the same muscles that attracted attention in the festival darling Thunder Road and its follow-up, The Wolf of Snow Hollow: Exploring the varieties of volatile awkwardness and desperation, he plays a well-known type (the showbiz ladder-climber who’s nothing but a smile) while making the character unlike any we’ve seen.

Reiser has written his characters with an indelible sweetness and vulnerability, which allows the cast to deliver performances with some depth.

It's all a bit bizarre. One soldier tellingly calls it "one big reality TV show," and the movie never makes clear whether such training does any good.

One of the most transporting depictions of the Downtown New York scene (in a field crowded with docs, memoirs and fictions — some by artists who weren't alive at the time), Sara Driver's Boom for Real: The Late Teenage Years of Jean-Michel Basquiat more than does justice to its acknowledged subject, partly by refusing to divorce him from his context.

Like an old airplane (or spacecraft) jerry-rigged from scrap pieces and made air-worthy again, Super 8 has been patched together with 30-year-old spare parts to provide an enjoyable ride of its own.

Whatever its missteps, this is a film that kids, middle-aged adults and grandparents can all see -- together or separately -- and get something out of in their own ways. There are precious few films that fit this description today and hats off to Spielberg for making one.

Escalante struggles to illuminate how sex and violence are connected and what this, in turn, means for more specialized types of aggressiveness and oppression, such as misogyny and homophobia.

Obscene, disgusting, vulgar and vile, The Aristocrats might be the funniest movie you'll ever see.

Veteran Yucatan stage actor Hector Herrera is a delight as the suspicious old garageman who gives Juan an important lesson about letting go.

A high school romp that turns a stale genre upside down with sly wit and sharp satire.

Visually, the results are quite often striking, and they are also sharply cut together. But there’s a nagging suspicion throughout that there’s been more preparation for especially the set-pieces than would normally be the case on a documentary.

El Camino is a high-quality piece of suspense and action filmmaking carried by Paul's still-tremendous performance as Jesse Pinkman. It looks great, sounds great and if you're a fan, it's full of cameos and references that are sure to amuse.

Expertly assembled across the board, Censored Voices tries and largely succeeds in providing a corrective to the idea that Israel’s 1967 victory was a quick and clean operation.

Fascinating, however uneasy, viewing.