It’s a timely topic shot around picnic tables with friends and tramping through vineyards from Tuscany to Piedmont, as thought-provoking as it is informal.

Barbershop: The Next Cut, the third installment in the film series, brings the laughs while injecting a serious topical theme that gives it a welcome edge.

Though the film stretches out long enough to impress us with the difficulty of their journey, the four actors ensure that the two hours or so we spend in their company aren't dull.

Hitchcock/Truffaut is a resourceful, illuminating and very welcome documentation both of filmmaking and the making of film history.

The film largely succeeds in achieving its modest goals, delivering a feel-good, real-life inspirational story in a mostly engaging fashion.

Both an engaging character study and a useful introduction to issues surrounding biodiversity.

Love at First Fight is overflowing with relentlessly acerbic humor that shapes the way the film's two young protagonists contend with not just each other, but also with the uncertainties of the world they're emerging into as adults.

A bit of community spirit and camaraderie, it seems, can go a very long way, and sequences of spectacularly dystopian-apocalyptic, third-world bleakness are leavened by moments of incongruous beauty, even grace.

As action, it's niftily executed, the suspense neatly built, and the shocks expectedly surprising.

Highlighted by an all-consuming lead performance from Lindon – surrounded here by an excellent cast of non-pros – this third collaboration strays further into Dardennes Bros. territory than previous efforts, although its depiction of an Average Joe scraping by in contemporary France features its own unique voice.

The director, her co-screenwriter Etienne Comar and the exceptional cast led by Emmanuelle Bercot and Vincent Cassel have an acute enough eye for the manners and mores of these archetypes to make the material feel consistently fresh and alive.

A very fine if not exactly groundbreaking film about, as the title hints, perspective and distance.

While Chronic is a depressing sit, it's a sobering window into the self-sacrifice and psychological strain of the caregiver, as well as a provocative contribution to the ongoing debate about humane assisted suicide.

Acevedo deserves credit for crafting something so audacious – along with the photography, the sound design by Felipe Rayo is also boldly conceived – though there are moments when the style really dominates the subject matter, in a film that’s a pleasure to watch but not always one to follow.

Has its pacing problems, and the special effects are strictly of the cheesy variety, but it provides enough genuine scares to make it thoroughly enjoyable, especially if seen at a drive-in on a hot summer night.

First-timers Sean Mewshaw and Desi Van Til show no evidence of inexperience in this sturdy and crowd-pleasing picture.

Mullins knows just how much plot this enterprise requires (answer: not a lot), avoiding boredom by giving the quartet reasons to leave houses behind and, eventually, to fracture.

Despite a low-rent aesthetic that (like Grant's all-caps-happy website) doesn't sufficiently distance it from the tinfoil-hat world, Soaked presents evidence one has a hard time dismissing.

Using Walter Hill's cult classic film "The Warriors" as a cultural touchstone, Shan Nicholson's documentary Rubble Kings recounts their stories in breathlessly paced, vivid fashion.

It’s Kateb -- a rising star with three films in Cannes this year -- who steals the show, portraying a man whose professionalism and humanity are constantly thwarted by the other staff members, especially the Gallic natives that don't have to jump through the same hoops he does.

Radivojevic's film is a valiant call for a new way of thinking about the impact of immigration on abstract notions of nationhood.

[A] tender but unsentimental take on a story that benefits from finesse.

A pitch-perfect pastiche that never mocks its inspirations, the picture is silly fun to warm the hearts of aging fanboys and delight hipsters who weren't yet born the first time Mel Gibson donned Max's leathers.

The film’s ambition and dexterity is somewhat of a mixed blessing, with, for example, character motivations given short shrift in the sprint to the finish line.

Hit man thrillers are a dime a dozen, but director Dru Brown's Aussie variation on the familiar genre takes some seriously clever, nasty turns.

Using a wide-ranging color palette that shifts from the warmer hues of the Sahara desert to the colder, sadder blues and grays of old-time Paris, Lie and his team provide a pared-down animation technique that recalls classic Disney, albeit with a rougher, at times abstract touch.

Despite the intermittent lags, the production proves to be more than a salvage operation thanks mainly to those engagingly choreographed performances, led by an irresistibly charismatic title turn from Alden Ehrenreich who ultimately claims Solo as his own even if he doesn’t entirely manage to convince us he’s Harrison Ford.

There are definitely more worthy endeavors than circling the globe in search of the perfect cut of meat, but French producer-director Franck Ribiere nonetheless delivers an absorbing, and often enlightening, quest for the world’s greatest sirloin in his exhaustive food documentary, Steak (R)evolution.