Its running time is a mere 78 minutes, but the pic feels like it takes much longer getting to nowhere particularly interesting.

Though its dark riches can at moments feel like overload, and its narrative thrust occasionally grows diffuse, the story casts an undeniable spell.

Soul of Success does little to capture the eureka moments Canfield evidently produces for his followers. Maybe the doc is worried about giving the goods away for free.

It’s commonly thought that artists seldom make stories about happy, stable marriages because where’s the drama in that? Ethel & Ernest, a deeply affecting feature-length animated film, disproves that assumption by unfurling an emotionally rich story about the lifelong marital love affair between two kindly, modest people living in an inconspicuous corner of suburban England.

Youth is a whirl of grand, dramatic gestures.

Soufra's lasting impression is one of empowerment and the energizing sense of purpose and community that the women derive from the enterprise along with their incomes.

The film is frustratingly disjointed and hard to follow at times as it inundates viewers with a torrent of information. Nonetheless, it proves compulsively fascinating.

Things get tedious as the filmmakers reach the end of their money and have to pack it all up without getting any celebrities on their record other than Glee's Naya Rivera.

Viewers who push through this silliness will be rewarded with an action climax that, while just about as ludicrous, is at least enjoyable.

In the vein of Ma Vie en Rose (if not quite as polished and mature) and other gay adolescent coming-of-age films of comic rebellion, it's a congeries of brilliantly achieved cinematic moments and repetitive, massively self-indulgent gestures of acting out.

The result is a lovely, upbeat, even life-affirming film. It's a work which certainly doesn't soft-pedal the less appealing sides of children's behavior, but shows that empathy, given appropriate circumstances and resources, can be taught just as effectively as arithmetic and spelling.

His unpolished voiceover and the general sense of overkill aside, Panico delivers a quite respectable doc production.

In terms of its overall look, Cinderella the Cat blends blocky, videogame-like 3D/CGI animation and voluptuous, watercolor-like 2D animation. It shouldn't work, yet it does create a coherent universe.

Loaded with action and satisfying in the ways its loyal audience wants it to be, writer-director Rian Johnson's plunge into George Lucas' universe is generally pleasing even as it sometimes strains to find useful and/or interesting things for some of its characters to do.

This stranger-in-a-strange-land adventure has enough appeal to sustain its limited theatrical release.

The film's main appeal is in watching familiar actors pretend to be ordinary kids grappling with their new selves.

The film is ingratiating enough, but its main value is to make us eager for another, more substantial Shelton movie long before another decade has slipped by.

With lucidity and deep feeling, Nancy Buirski's documentary maps an ugly trail of injustice and then widens its lens to pay tribute to the women of color whose refusal to be silent helped drive the evolution of the Civil Rights movement.

Hollow in the Land traffics in familiar rural thriller territory, but it features an excellent performance from its lead actress and a strong atmosphere of moody tension courtesy of its writer/director.

Director/screenwriter Jones displays an ability to sustain simmering tension that's impressive for someone directing only his second feature film.

The starry chemistry of leads Ansel Elgort and Chloë Grace Moretz injects a modicum of energy into the coming-of-age drama, whose elements of romance, crime and smart-kid angst never coalesce.

This rip-roaring tribute to a maverick artist trips along like a surreal odyssey, punctuated by lively reminiscences, choice clips and superb photographic material. The whole enterprise seems remarkably true to the spirit of an anarchic life often driven by booze, blow, women and guns.

Collins has crafted a mesmerizing modernist memorial to ancient Celtic traditions, even if its determinedly slow pace and diffuse narrative will likely leave some viewers unsatisfied.

The doc delivers enough arresting Neapolitan moments that many viewers will consider tracking down the source material — still in print, nearly four decades after Lewis published it in 1978.

The film's main draw is its cast, all of whom have seen more illustrious career days but nonetheless can still deliver the goods.

Manages to squeak by with enough charming set-pieces and amusing sight gags to compensate for a stalling storyline.

More unconventional and downright weird on a moment-to-moment basis than it is in overall design and intent, it's a singular work played out mostly in small rooms that harks back to psychological melodramas of the 1940s/50s but hits stylistic notes entirely its own.

It's a dramatic tale loaded with all manner of dynamics, political and personal, and Spielberg charges out of the gate at a brisk clip, extends his hand and all but enjoins the viewer to grab hold and be swept along for the ride.