The tale is surprising, and directors Carlos Aguilo and Mandy Jacobson blaze right through it -- recounting ins and outs across an entire continent in ways that will challenge most viewers in the West.

Director Pat O'Connor (Dancing at Lughnasa) achieves a lot with a little... Adding greatly to the overall impact are the strong performances by the three leads.

Doyle overstuffs some of the content, jumping through dozens of interviews without allowing us enough time to process them. Still, the director and editor John Murphy manage to give all the material a solid through-line, making the many voices echo into one underlying argument: Showrunning sucks, but it may be the greatest job in entertainment today.

More than just a sip of fizzy fun, this 3-hour comedy is Jeroboam-sized. Farah Khan’s Happy New Year is an ambitious musical, a love story, an Oceans 11-style crime caper and an ensemble comedy.

Comic subplots are less zany than flatly hopeless, occasionally acting as deflating metaphors for army life.

While constantly eventful and a feast for the eyes, it's also notably more somber than its predecessors. But just when it might seem about to become too grim, Robert Downey Jr. rides to the rescue with an inspired serio-comic performance that reminds you how good he can be.

Arriving three decades after the fact, this docudrama doesn't quite do justice to its important subject.

An upbeat chronicle of very hard rock in a very hard place, Death Metal Angola is one of the livelier and more enticingly exotic additions to the ever-burgeoning music-documentary sub-genre.

We're treated to generous excerpts from the finished product, which is all the more resonant for the moving profiles that have preceded it.

Featuring generous amounts of haunting archival footage and photographs, the film is occasionally a bit diffuse in its narrative, straining to convey the complexities of its story with an overabundance of detail. But it ultimately succeeds.

It's a visually stunning experience. Even the shots of riders crashing, and there's enough of them here to fuel a dozen PSAs, achieve a haunting visual poetry.

The filmmakers get astonishing access, eventually earning enough trust that they get to visit Guzman's family home and interview his mother, who proudly recalls how fascinated he was with stacks of play money as a child.

A mixture of raw, first-hand footage, shot by protesters themselves, and more self-possessed interviewees ensures that the chaos and sometimes lethal risks of protesting come across as strongly as the pressing sociopolitical reasons behind them and the effects the events have had on the participants.

There isn’t a tremendous amount of new information in this generally well-crafted documentary. But it makes a potent, urgent case against the merchants of doubt who play games with the planet’s future.

A spare neorealist drama that holds attention and emotional involvement with its deft balance of toughness and sensitivity.

Even if it tells us nothing new, Pulp is still a handsome cinematic homage to a unique band, a proud city and the unifying power of pop music.

Stones in the Sun occasionally suffers from didactic excess but nonetheless offers an intriguing look at this underexposed community.

Inevitably harrowing and sickening in places, but with tender and uplifting moments, Night Will Fall is a somber treatment of a serious topic which earns its place in the broad pantheon of Holocaust-themed cinema. It is just a shame that Singer's worthy memorial feels a little too small for its world-shaking theme and world-famous cast list.

Paul Schneider shines in the role, stumbling through a dating world that has changed since his character got hitched, thanks mostly to social media.

There’s something strange, wonderful, troublesome, brave, bonkers and completely watchable about Predestination that separates it from the scores of other time travel adventures that have come down the pipe in the past few years.

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

Subjects Bill Andrews and Aubrey de Grey are colorful in quite different but complementary ways.

A phantasmagorical vision of psychological purgatory, Horse Money (Cavalo dinheiro) will enrapture some while leaving others dangling in frustrated limbo.

To that end there are segments of Jal that just don’t work, but there are just as many that do, even when the film’s construction is occasionally boggling.

Southpaw sticks to tried-and-tested genre rules, yet an edgy cast — led by formidable leading man Jake Gyllenhaal — keeps the story in sharp focus.

Co-director Starzack was one of the guiding hands behind the series version of Shaun the Sheep, and that experience in the kind of brisk, skit-based comedy that makes the series so charming shows through here in stand-alone scenes.

A sober drama that makes class central to the story without ever sounding like it has an agenda.

Joe Lynch's determinedly B-movie exercise is strictly formulaic but should well please genre enthusiasts who will relish watching the sexiest female badass since Uma Thurman in "Kill Bill."