It proves that Beauvois still masters his uniquely classical brand of filmmaking, coaxing strong performances out of veteran Nathalie Baye and newbie Iris Bry, who makes an impressive screen debut.

The spareness of both the physical and emotional landscapes yields something quite delicate in a film with the grace and economy of a satisfying short story.

First-time directors Bob Fisher and Rob Greenberg start off with a movie so dull it threatens to vanish from the viewer's memory before it's even finished. Things get better midway through, with the directors' screenplay finally playing to the talents of at least one of its stars, Derbez.

The sort of suspenseful, old-fashioned war movie that should particularly appealing to older viewers, provided they don't mind reading subtitles.

Schoenaerts is his usual, intense self, Exarchopoulos has here found her best role since Blue and there’s no denying their chemistry is wild. But their characters become prisoners of the many twists and turns of the narrative instead of rising above it; their personalities aren’t revealed through the story so much as they are constrained by it.

Tennant is awful, by which I mean wonderful, by which I mean truly terrible, yet in a legitimately magnificent way…I think. This is a you-can’t-kill-THAT-performance! par excellence, beginning at peak nutball and staying breathlessly atop the trash heap.

The film delivers an evocative biographical portrait of Talley.

The film honors the hard-working, often unacknowledged craftsmen in the film industry and stirs provocative questions about the fine line between legitimate devotion to an artist and dangerous hero worship.

The resulting film feels highly personal, tender yet unsentimental.

A human/robot love story that is less deeply imaginative than Spike Jonze's Her and less heartbreaking than Doremus' own Like Crazy, the picture is nevertheless a beautifully acted, affecting drama that teases some questions society may need to answer sooner than we expect.

The doc's heart is with ordinary people who have no show-business ambitions.

Stockholm, which gently massages actual events to serve as a fine vehicle for Noomi Rapace and Ethan Hawke, is far from the first movie to believably show a crime victim coming to sympathize with a criminal. But it's a funny and agile one.

This Seagull proves a worthy if hardly definitive adaptation of the classic drama.

This is, in abstract, a bold and brilliant performance, an act of possession, really, and Smith never personally steps wrong in the film’s 96 minutes. But his work, sadly, is continuously undermined by everything surrounding him, beginning with a script, written by Timoner and Mikko Alanne, that frustratingly sticks to the then-this-happened conventions of a standard biopic.

A warm if not quite comprehensive-feeling biography of a performer who, even for a celebrity, elicited an unusually strong personal affection from fans, Lisa D'Apolito's Love, Gilda tells the far too short story of Gilda Radner.

The debut feature succeeds thanks to a credibly bifurcated performance by star Ansel Elgort.

Sarah’s circumstances are so ridiculously dire that there’s little left to do but laugh at them.

It's certainly never boring, and Maringouin makes the madness feel queasily real.

Superficiality reigns, but then a truly affecting scene will pop up.

The Bleeding Edge is a terrifying eye-opener.

The premise offers plenty of room for yet another impressive performance by Mary Elizabeth Winstead.

The action doesn't start until an hour into the picture, and is as unimaginative as everything that has preceded it.

This debut doc would have benefited from some statistics to back up its ample expert testimony. Numbers would be useful, for instance, to show how SAT scores fail to correlate with college performance or success later in life. It also would be more rounded if it gave time to the SAT's advocates instead of using footage of old speeches to represent their side.

The message tends to melt into a paint-by-numbers screenplay that pushes too many genre buttons to be thoroughly exciting.

The film strongly argues against the use of elephants for such things as giving rides to tourists and performing in circuses. What gives those arguments their moral force is the animals themselves, demonstrating intelligence, sociability and emotion.

The most thrilling aspect of director Per Fly's drama is watching the interactions between co-stars Theo James and Ben Kingsley. Even as James sucks all the energy out of the room with his inert performance, Kingsley creates oxygen with his dynamic, wildly entertaining turn.

Though its production is humble and its account full of images many won't want to see, the case represents crucial knowledge for Americans concerned with the boundaries of the First Amendment.

British thriller Beast takes a fistful of tired old tropes — like a hunt for a serial killer, and the ‘ol Joe Eszterhas-style is-he-or-isn’t-he-a-baddie tease — and manages to fashion something fresh, fierce and quite striking from them.