Light is just as faithful to formula as Bend It Like Beckham and just as reliant on its lead's likability; here, newcomer Viveik Kalra radiates enough guileless enthusiasm to carry viewers past the film's rough patches.

A thought-provoking and involving film.

Come as You Are hits most of the familiar road-movie beats, and telegraphs its surprises pretty shamelessly. It's not the most subtle disability comedy you've seen, nor is it at all concerned with exploring the ethical issues surrounding sex work. But its lightness is a virtue in the film's rare sentimental moments, which might've been too corny to bear in other contexts.

You learn as much as you need to know to understand Gehry's architectural process and to appreciate his enormous contribution to modern art and architecture. Which is not a bad thing. Just sketchy.

It was a given that this meeting of two iconoclastic directors would yield something far more unfettered and instinctive than conventional bio-drama. But the result borders on incoherence, providing few startling insights for aficionados and minimal illumination for the uninitiated.

Observed with warmth and sensitivity, this is a rewarding coming-of-age drama that features terrific performances from two young newcomers in the central roles.

A fiendishly entertaining Christmas yarn rooted in Northern European legend and lore, complete with a not-so-jolly old St. Nick informed more by the Brothers Grimm than Norman Rockwell.

A fun and entertaining ride that unfolds at just the right speed.

Together, Leguizamo and Ferreira share a chemistry as warm and lively as the campfire their characters share over one meteor-filled night.

It succeeds on almost all fronts. The epic film is a high-octane adventure rooted in fact with a raft of arresting characters, big action sequences and twists and turns galore.

The director and her cinematographer Eduardo Enrique Mayén never stray far from their leading lady’s face, and the Tianjin-born Chin delivers a performance of impressive minimalism, one that feels true rather than ingratiating.

The progression from raunchy, raucous laughs into dramatic conflict and then out the other side into the uplifting empowerment of sisterhood and self-worth isn't entirely seamless, but there's too much dizzy pleasure here to get hung up on the flaws.

The film lucks out by having an intrinsically compelling story, likeable underdog protagonists, and an exotic South Pacific location.

Ribeiro’s screenplay, which is marbled with moments of humor as well as emotion, feels extremely well-tuned into the conflicted emotional lives of his adolescent characters, who often retreat into the safety of their childhood comfort zone after every exciting, but also scary, excursion into the adult unknown.

Florence Foster Jenkins is a modestly enjoyable crowd-pleaser, but it ultimately feels smaller than its subject, a deeply conventional portrait of a highly unconventional woman.

Splash, the story of a lovelorn bachelor who falls in love with a mermaid, deserves high marks both for technical verisimilitude and artistic merit.

The portrait is dispiriting overall, inspiring little affection from viewers, but feels authentic and fair.

The filmmakers prefer, smartly, to focus on the people in present-tense need, making them not statistics to be debated but human stories.

The subject of Francofonia is art as the spoils of war, and the example he gives is the period when the Louvre – called at one point “the capital of the world” – came under Nazi control. Making the barest hint about the destruction of historic artworks in Syria at the hands of ISIS, Sokurov gently reminds the viewer why all this is terribly relevant today.

Facing the physical challenges of depicting Hawking’s disability, Redmayne pulls it off with enormous grace and endurance.

Showing that there is both rhyme and madness to seemingly unfragmented everyday life, screenwriter-director Michael Haneke has created a pointillistic portrait of terror, presenting a number of tiny, mundane incidents that eventually enable us to connect the dots.

Neil Marshall's horrifically terrific The Descent cannily recasts 1972's "Deliverance" as a female-bonding thriller with some "Hills Have Eyes"-style mutant terror tossed in for truly harrowing effect.

While the film, directed by Hany Abu-Assad, provides a vivid portrait of the landscape, its dramatic aspects are less impressive, with the contrived plot and paper-thin characterizations basically serving to provide a framework for its impressionistic portrait.

This movie is a hoot, and a pertinent one at that.

What’s particularly admirable here is the way the cast and filmmakers illuminate not just the wit and charm of young men, but also the callow cruelty of youth, driven by a killer combination of naïve idealism, solipsism, poor self-esteem and raging hormones.

Though it has far less outright violence than Gomorrah, whose oppressive criminal atmosphere it shares, Matteo Garrone's Dogman is just as intense a viewing experience, one that will have audiences gripping their armrests with its frighteningly real portrayal of a good man tempted by the devil.

Unicorns traces their twin journeys toward self-acceptance with empathy, curiosity and a refreshing disregard for constricting labels.

Cam is a suspenseful mind-bender with plenty of timely feminist subtext. It takes viewers down some unexpected rabbit holes and commendably avoids pandering to male-gaze sex-thriller tropes, even if it ultimately fails to deliver on its grippingly weird early promise.