It is a rare director who dares to embrace the slow, meditative rhythms of a classic novel without feeling the need to modernize or accelerate it, but Davies uses the measured pace to unfold his poetic vision of the Scottish peasantry and their attachment to the land.

A crowd-pleaser despite its missteps and occasionally because of them, the pic enlivens some stale conceits about killers-for-hire and the women who love them.

Lolo has a solid laughs-per-minute rate and enough twists to overcome the occasional screenplay hiccup.

It is unsettling in its depiction of the dark underbelly of the country, where a culture of hate paved the way for violence and tragedy.

Endearing performances, accomplished low-budget filmmaking and a distinctive urban setting all add up to an appetizing offering.

It is tightly in sync with protagonists who find it impossible to move on despite distractions that might be catalytic in other films.

Far less sensationalistic or cutesy-provocative than its title suggests, the film borrows its subject's infamy to add gravity to some family drama but does so in a good-hearted way.

It will not teach you very much about either autism or Metallica, but you will leave the theater smiling.

The filmmakers' access is remarkable, and they eventually compound the film's novelty in an exciting way (spoilers below). But claims that this film opens our eyes to unknown practices are exaggerated.

An engrossing real-life adventure that brings much-needed attention to an important environmental issue.

Like many science-fiction films, Star slowly but surely reveals itself as a parable of our self-destructive times – an artsy Interstellar with a threadbare narrative rather than one that’s forever running on hyperdrive.

The portrait that emerges is intimate — perhaps too intimate for film lovers who might have preferred to hear more about the star’s working methods, and fewer details about her husbands and kids.

Deathgasm is a giddy avalanche of gore and heavy metal-drenched mayhem that takes itself not even a tiny bit seriously.

There’s a carefree spirit about everything that happens, including all the talk about girls and masturbation, that makes the story as breezy as the summer air,

This is a lean and efficient mix of thriller, drama and socio-political commentary.

The director and his regular editor Eyas Salman notch up the tension by beautiful degrees as Mohammed overcomes each obstacle with ingenuity, charm and, hokey but true, sheer singing skill.

An intriguing, offbeat surprise.

Although the film might have benefited from a deeper investigation of the background to the conflict between Russia and Ukraine, the vivid scenes of protest in the capital city of Kiev supply undeniable power.

There’s a decidedly campy side to the proceedings that Koutras effectively juxtaposes with the hard-edged realities of contemporary Greece, a beautiful but hostile nation wrecked by the ongoing economic crisis and a place in which xenophobia, racism and homophobia seem to fester freely.

Dukhtar (Daughter) may not be 127 Hours, but Afia Nathaniel’s feature directing debut generates enough tension to fuel a harrowing real-life story while adding another unforgettable heroine to cinema from the region with Samiya Mumtaz’s measured portrayal of a Muslim woman taking charge of her life.

If Berardini isn't very generous to the company's execs, shortchanging what is likely a genuine belief that they're doing good while making a ton of money, he does spend time with officers who, for a time, embraced the Taser eagerly.

A pretty straightforward coming-of-age story that’s well-observed and manages to be intimate and explicit without becoming exploitative.

The result is an effects-laden goofball comedy in which anything goes and nothing matters. Not that this is an entirely plot-free extravaganza or just an excuse for comic riffs. But the filmmakers are so cavalier about the idea that any of this is supposed to make any sense that there's a certain liberation in not burdening two human-brained insects with the fate of the entire universe.

The abstraction of the approach perhaps limits the scope of Miles Ahead as an acting showcase, though in Cheadle's fully inhabited characterization, he nails the subject's soft, nicotine-scratched rasp and his eccentric irritability and paranoia with discerning understatement.

A solid example of low-key, well-observed, humanistically sympathetic ethnography.

Expertly assembled across the board, Censored Voices tries and largely succeeds in providing a corrective to the idea that Israel’s 1967 victory was a quick and clean operation.

Despite an undernourished thread connecting key characters by their experience of loss, seldom have the human figures and their interplay been as peripheral to the headline action in a popcorn blockbuster. The good news is that even if the convoluted kaiju mythology tends to trip over itself in a plot that only barely makes sense, the Monsterverse face-off delivers plenty of visceral excitement.

The film’s greatest virtue is certainly the raw, unguarded moments that Yu is able to capture while interacting with the wrestlers.