After watching Maysaloun Hamoud’s sparkling, taboo-breaking first feature In Between (Bar Bahar), audiences will have to seriously update their ideas about the lifestyle of Palestinian women in Israel.

There are many pleasures along the way, including the effective evocation of Victorian-era London.

In its poetic portrait of a man whose quest to help others has cost him dearly both emotionally and physically, The Departure proves quietly profound.

This arresting work, starring Margaret Qualley, Julianne Nicholson and Melissa Leo as well as a celestial choir of up-and-coming young female actors, mesmerizes as it probes a uniquely female-dominated milieu where passions — both religious, sexual and a combination of the two — run hot under those starched, lily-white coifs and black habits.

Modest but funny, it makes a fine calling card for a performer deserving of bigger things.

The Divine Order (Die Goettliche Ordnung) is an entertaining, if largely predictable, story of an individual swept up in the tide of history.

The movie's reason for being is the chemistry between Gleeson — mop-headed and awkward, an idealistic milquetoast wearing a pajama top as a shirt — and Church, mustachioed and oozing testosterone, but coolly incisive despite the dumb misogyny of Grady's lines.

Director Isaac Florentine, a veteran of this sort of direct-to-video violent fare, not surprisingly proves more effective with the action than dramatic scenes, but he keeps the pace moving nicely.

Considering the long amount of time since the last installment, you'd think that more effort would have been put into creatively reviving the franchise. But Jigsaw just seems rote and mechanical, with long stretches of its running time feeling like a police procedural or CSI spinoff.

Gently amusing while avoiding needless sentimentality.

Davis and Kaye’s script lacks the black humor and high-wire comic timing that made The Celebration such a breakthrough, and the antics of the three main leads just become a bit sordid, inexplicable and oddly tiresome by the end, even though the performances are admirably committed.

Rather than a plot-driven narrative, it’s a collection of keenly observed scenes, and the lack of hyped-up drama, intrigue or sentimentality is one of the strengths of the low-key but visually expressive movie.

Even after 90-odd minutes, Mansfield remains something of an enigma. There's the nagging sense that Ebersole and Hughes are tossing myriad darts at a skittish moving target, trying out numerous techniques (including a couple of fifties-style animations) without ever settling into a proper rhythm.

Despite the strain of what they go through together, Beatriz and Stahl-David have a combustible chemistry together that adds credibility and Thompson clearly has a knack with actors, coaxing sharp, believable performances from all involved — even from actors with relatively small roles.

Olin never wavers in her commitment. She's often extraordinary in individual moments.

Every bit as perfectly tuned, cruelty-free funny and kind-hearted as its predecessor, maybe even more so.

The sequel will impress any fan of the original. It's fresher than most of the low-budget thrillers gracing theaters lately.

Considering that there seems to be no end in sight of the country's involvement in the Middle East, the film proves timely and affecting.

While Zabielski and his cowriters never shortchange their stars in terms of screen time, their imaginations fail them when it comes to giving Crews and Method Man interesting things to do and say. In the case of Method Man, though, the rapper/actor's attitude alone carries him past the script's deficiencies.

At every imaginative juncture, the filmmakers (the screenplay is credited to Pixar veteran Molina and Matthew Aldrich) create a richly woven tapestry of comprehensively researched storytelling, fully dimensional characters, clever touches both tender and amusingly macabre, and vivid, beautifully textured visuals.

Big, dumb, and boring, it finds the cowriter of Independence Day hoping to start a directing career with the same playbook — but forgetting several rules of the game.

Earnest to a fault and soft-edged in its approach to faith (God is more in the margins here than he is a central, narrative-driving presence), yet direct and moving in some scene-by-scene specifics because of their basis in reality.

Having already given us a shootout or two, the film grows more involving as Lefty fights for both his life and his good name. Pullman has no trouble making the character sympathetic, even as he maintains the near-ineptitude Lefty's known for.

In the end, the scariest thing about Boo 2! is the idea that A Madea Easter might be next.

An original, unexpectedly affecting tribute to two distinctive comic performers.

Unfortunately, Schwarzenegger doesn’t show up until more than an hour into this relentlessly unfunny comedy and by then viewers may have tuned out long before.

The relatively laidback angle on all the murderous spree-ing gives Chris Hemsworth a chance to find the comic groove beneath the title character's beefcake godliness. He does it expertly, and the self-mocking humor is all the more welcome given Thor's essential blandness.

The odd subject matter should have made for a riveting film, but, like many documentaries, Liberation Day (the title refers to the North Korean holiday celebrating the anniversary of the end of Japanese rule) feels both too short and too long.