An artful experiment that's imposingly cryptic but comes from a respected filmmaker, it should appeal to its art house niche.

A delight, brimming with colorful, elastic characters and bountiful wit.

Malik Bader's Cash Only is one of the more convincingly gritty indies to hit fests in several seasons.

Nothing would work quite as well without the performance by Pugh. She commands the screen from her very first appearance, and we never have doubts that anyone who tries to interfere with her will be facing a formidable adversary.

De Wilde and Catton deliver a largely faithful and unchallenging adaptation, beautifully staged and sharply acted by a cast adept at balancing wit and romance.

The film fittingly embraces the elements of camp and kitsch that played such a major role in defining the Nomi persona.

Sweaty Betty has a likable quality and an obvious affection for its subjects who maintain a resolute cheerfulness throughout their struggles. But it's hard not to wish that the shambling material had been constructed into a more cohesive whole.

This is a tumultuous muse story in which the artist and his inspiration just happen to be blood relations.

A committed, intensely physical lead performance by German actor Franz Rogowski (recently seen in Ira Sachs’ Passages), luminous cinematography courtesy of ace DP Helene Louvart, and stirring electronic music by composer Vitalic all come together to make this a sensuous, striking film experience. But, yeesh, that script by director-screenwriter Giacomo Abbruzzese is a mess.

The film is an example of social activism at its best; it's not only enlightening, but it's an engrossing story that a smart television audience should embrace.

Lensed with great sensitivity and style and superbly acted, it has one drawback for Western audiences in its perplexing plot points based on the local culture and customs.

An intensely compelling work.

Like so many of his other movies, it’s pithy, punchy, a little shouty at times, but made with brio and swagger.

While the doc uses reenactment and plentiful period news footage to chart how Sands withered away, and to capture the mixture of respect and grief his determination to die produced in supporters, the film is always about more than Sands.

It's a long movie that feels short: It grabs you in early scenes, intense though low-key before all hell breaks loose, then keeps you riveted to its mostly male characters.

[A] gorgeously shot and sensitively acted drama, a demonstration of range from the actor-turned-director.

This touching if insular drama about a woman grieving over the recent death of her aunt is well acted and incisively observed, although it's ultimately too low-key to have much dramatic impact.

Given the challenge of solving a problem like Bathsheba, Mulligan succeeds, more than Christie did, in providing an answer.

Much of the best comedy derives from personal pain, and comic turned filmmaker Mike Birbiglia deftly transposes his stand-up routine to the big screen.

What The Perfect Candidate lacks in sophistication it makes up for in intuition, entwining the longtime taboos of music (especially the female voice) and women's active participation in political life in a positive storyline.

The story presents a moral morass involving betrayal, illicit sex, hypocrisy and a crime, yet the film feels tidy. Only one punch gets thrown, and you sense the perpetrator regrets his action immediately. It is all very British.

Of the many performers captured by D.P. Turaj Aslani's highly mobile video camera, an unframed woman singer identified as Rana Farhan is a standout.

Where the film falters is Jonze and novelist Dave Eggers' adaptation, which fails to invest this world with strong emotions.

The film probes the experience of grief in a subjective, intuitive manner, and it achieves remarkable intensity in exploring this theme.

It makes a global crisis intensely personal, even romantic.

It’s an extremely honest depiction of adolescence, but one that doesn’t always make for compelling drama. The result is a film that fails to pack a sufficient emotional charge, even if it leaves us longing to know where Enzo will go next.

Steph Green's first feature has more going for it than a solid dramatic turn by Will Forte.

Grimy and sad but not sensationalistic, the debut feature is like Drugstore Cowboy drained of its hipness and sex appeal.