The film’s small scale is more than compensated for by its insights into adolescent awareness, the passions stoked by global causes and the moral hypocrisy of the ideologically righteous.

Two arthouse "worlds" collide with amusing and intriguing -- if hardly earth-shattering -- results in cult Korean writer-director Hong Sangsoo's In Another Country.

An interesting twist on a classic plot, Dangerous Liaisons is essentially a deluxe soap opera. But with its beautiful cast and gorgeous production design, it is still a highly enjoyable way to waste two hours.

Damning documentary pairs an individual sex-abuse case with analysis of institutional dysfunction at the Vatican.

A prime example of the type of well-produced, smartly cast independent features that Sundance has been helping launch into the theatrical marketplace over the past few years.

The only film ever to be released with the promise of a reward--$50,000 for information leading to the arrest and conviction of the bomber--Who Bombed Judi Bari? is an engrossing account of the case.

A must-see for fans of the cult musician and a moving, if sometimes oblique, look at gender-identity issues, it will find many admirers in niche bookings.

Few true-life stories are as inspiring as that of Darko Kralj, the subject of Dejan Acimovic's new documentary The King.

Frequently slaughtered for consumption in Europe, their inhumane treatment as revealed here will surely prompt outrage among animal lovers as well as those concerned with health and environmental issues.

One of rock's underheralded pioneers gets his due in Beware of Mr. Baker, an affectionate but unfawning portrait that finds the drummer of Cream still keeping the beat despite hardships both institutional and self-inflicted (heavy on the latter).

A cast of young actors is uniformly strong, as is Lance Gewer's photography.

A small but scrappy road-tripper whose solid sense of place and sure-handed blend of poignancy and unsentimental humor should earn it fans on the arthouse circuit.

A rare film dealing with Christian evangelism in a realistic way that neither mocks nor proselytizes, New Jerusalem quietly observes as a man tries to comfort his troubled best friend by bringing him to Jesus.

Some thrillers are described as taut. Talaash isn't taut, but loose and messy, the better to allow life's jagged edges to disturb the muscular, controlled world that its protagonist, Surjan "Suri" Shekhawat, has created for himself. When those inevitable cracks appear in Suri's world, the film grabs on tight and doesn't let go.

Self-contained enough for theatrical audiences new to the series, it will play best with those who've come to care for these Brits over time.

Working from a ruthlessly efficient script by husband Mark Duplass, Aselton effortlessly sets up the women’s reunion scenario before effectively flipping the action from drama to thriller.

Writer-director Adam Leon’s debut feature, Gimme the Loot, is a scrappy, funny, warmly observed delight from start to finish.

A quietly marvelous travelogue condensing months' worth of observation into a single sleepless night, Bill and Turner Ross's Tchoupitoulas follows their widely praised "45365."

Becker is now completely paralyzed, unable even to speak. But Vile keeps him almost entirely offscreen until the last thirty minutes, preferring to introduce him as he once was: Uncommonly positive and single-minded in his obsession with the electric guitar.

Fortunately this necessary infotainment pill boasts a highly effective sugar-coating thanks to the narration and on-camera presence of moonlighting co-producer Jeremy Irons.

Its account of the week beginning January 25 feels like a solid, layman-friendly addition to the West's understanding of this chunk of history.

Comedically, everyone's on the same page here, which means that, even when things flag, more fun isn't far off.

If the premise isn't as attention-grabbing as Rubber's was, the execution should help build the filmmaker's following.

The documentary Stolen Seas is not just a high-energy chronicle of a ship's hijacking; Thymaya Payne's bold debut feature steps back for a view of Somali piracy that's both broader and more incisive than most mainstream news coverage.

A history lesson that holds some pleasures even for those who know its material by heart.

Jeff Nichols’ much-anticipated follow-up to his breakthrough second feature Take Shelter feels less adventurous and unsettling but remains a well carpentered piece of work marked by some fine performances and resilient thematic fiber.

It may sound like a backhanded compliment to praise this sometimes cheesy movie for never taking itself too seriously, but in a summer of bloated spectacles, this modesty should not be underestimated.

The Call for the most part is a tense, extreme-jeopardy thriller that delivers the intended goods.