Coon and Skousen supply just enough information about the boys' post-Raiders lives to satisfy our curiosity.

The film provides a vivid reminder that even undocumented workers deserve fair compensation from their employers.

Propelled by a steady heartbeat of low-level dread, McNaughton’s classy comeback is a superior genre movie but also a refreshingly old-school, character-driven nerve-jangler with no need for paranormal monsters or flashy special effects.

A thoroughly entertaining doc that serves also as a primer on Brand's shockingly successful comedy career and an introduction to his singular personality.

The world of In Country may sound like a joke to outsiders, and may well be a misguided hobby for some of its subjects. But the film suggests we'd make a big mistake to write it all off as foolish fantasy.

Crucially, though all the characters get a little eccentric at times and some of their antics seem to have been imported from boulevard comedies rather than inspired by real life, in the overall scheme of things, the ensemble remains grounded in a recognizable reality.

[A] likeably modest study of veteran, well-traveled American musicologist Louis Sarno.

Director Brett Haley’s second feature has a disarming lightness of touch that keeps the proceedings buoyant, even when they inevitably brush up against mortality.

Gibney is convincing on every front. And while Apple (big surprise) refused to cooperate — meaning that key players like Jony Ive and Tim Cook are all but invisible in this story — he gets enough of Jobs' collaborators on camera to lend emotional color to the portrait.

It doesn't shy away from pointing out the many inconveniences suffered along the way. But it also vividly illustrates that as we sit in our too cramped coach seats, attempting to pass the time with various diversions, that we are also taking part in a modern miracle about which our ancestors could never have dreamed.

Byington's two-chuckle-a-minute script is mostly interested in Larry's constant, evasive patter, which continues whether the target of his words appears to care what he's saying or not.

All Things Must Pass approaches its sad subject with a well-balanced mixture of dispassion and sympathy.

Simplicity and maturity of vision are the virtues here, good qualities but perhaps a little too understated for major attention-grabbing.

A valuable if fairly esoteric addition to the music documentary genre.

A compact, nicely twisting script, classy performances and quality visuals are the hallmarks of a film which, though short on psychological nuance, over-long and lacking in the directorial distinctiveness that might have made it really special, still delivers in all the key departments.

An absorbing character study, even if it's ultimately not one that justifies its much-vaunted technological advances.

Although there is still much to enjoy here, this DC Comics-fueled Lego adventure fails to clear the creative bar so energetically raised by co-directors and writers Phil Lord and Christopher Miller back in 2014.

It's undeniably moving at times.

The film is not always subtle in its portrayal of a family ripped apart by tragedy, but remains captivating as a pure procedural that raises questions about the Paris police's handling of such situations, as well as about the state of race relations in contemporary France.

Heaven Knows What is a strange film, at once distancing and transfixing. If it's not as impactful as it might have been considering the experiences portrayed, it has potent atmosphere and an admirable refusal to put any kind of gloss on the bleak reality of its limbo world.

Moviegoers may expect something sexier than what they get here, but Neil LaBute's focus on just-talk between Broderick and co-star Alice Eve, funny but never uproarious, provides its own modest rewards.

As pure entertainment it certainly does the job, although much of the text's existential weight is lost in the process.

Based on a true story that's perhaps less famous than some others but just as intriguing, this serious-minded — no Helen Keller jokes, please — period film is nonetheless quite entertaining and, finally, moving.

With a style characterized by strong visual storytelling and a seamless rapport with actors both young and old, Bradley guides the cast with a gentle hand and a well-defined vision.

Grimy and sad but not sensationalistic, the debut feature is like Drugstore Cowboy drained of its hipness and sex appeal.

While the onscreen debate about the issues occasionally proves a bit dry, there's no denying the inherent twisted power of the films themselves.

Digging around in the crannies of his highly unusual home but never becoming intrusive, the doc feels like it was made by a friend, in a good way.

The film is focused enough on relationships not to sound preachy.