Nielsson somewhat frustratingly avoids giving us many cues to the passage of time, but nevertheless the film captures some of the drama generated by the public's impatience and Mugabe's maneuvering during the long drafting process

Sylvester Stallone doesn't get back in the ring in Creed, but he still comes away as a big winner in this far-fetched but likeable offshoot of the geriatric Rocky series.

It offers more than enough laughs to justify taking time out from TV marathons of A Christmas Story, and maybe enough, at least for younger audiences, to become a pinch-hitter each year when established classics like Elf grow too familiar.

An uneven but promising sophomore outing for Montreal-based Italian director Simone Rapisarda Casanova.

Other than undeniably looking good, Harding is unable to bring much depth to his role that, if the film had been shot closer to the period in which it was set, could have been knocked out of the park by a young Pacino or De Niro.

What should have been a tautly paced B-movie thriller instead comes to feel like a mini-series, leaving the viewer too much time to ponder the silliness of its narrative contrivances.

However polished the doc's tech and score, it simply doesn't find drama in this familiar template.

The whimsically humorous script relies primarily on playing up the individual idiosyncrasies of the characters rather than full-on comedic situations, although the overall approach remains grounded in reality, rather than taking to Wes Anderson-style flights of fancy.

Pizzo finds nearly no drama in Freddie's path from high school to college ball.

Using a cinema verite style to explore this little-known subculture, the filmmaker presents a tender portrait of his subjects who have little place in their country's society.

Bollywood spectacular is bloated, but hits the right emotional targets.

The Dark Horse is an emotionally potent story of redemption anchored by a heart-piercing lead performance from Cliff Curtis.

The Good Dinosaur emerges as a visually breathtaking work of computer-generated animation that is ultimately unable to compensate for a disappointingly derivative script.

On their own, individual scenes are effective enough in semi-farcically portraying the ignorance, avoidance and/or downright denial by the practitioners of bad loans. Together, however, they are wearying in their repetitive nature.

Patterson makes the most of his access to the two musicians, shooting on the run as often as sitting down for interviews with key participants in the presidential contest.

A likeable if not especially vibrant doc.

After Laurent Cantet's Return to Ithaca starts out as one of those frustrating no-access parties, this reunion of five middle-aged friends on a Havana rooftop almost imperceptibly transitions into a richer, more emotionally expansive experience.

Heist nonetheless has a B-movie appeal thanks to its strong ensemble and wacky commitment to its overcomplicated, wildly absurd plotting.

One of the most egregiously awful horror films in recent memory.

A Christmas comedy of numbing tedium and tackiness.

A confident and quietly promising feature debut from director/co-writer Fellipe Barbosa.

This film is vital in uncovering a hazard that was kept hidden for far too long. At last the secret is out, and Landesman and his fine cast will help to keep the conversation going.

This Isn’t Funny is insightful and quick-witted, a romance that take chances while its lovers learn to do the same.

It may be Hot Sugar's Cold World, but that doesn't mean we have to live in it.

The Nightingale is technically remarkable. Beyond its socio-political context, however, the film offers hardly anything inventive to the familiar generation-gap rite-of-passage dramedy.

In a brisk hour and a half Vreeland gives a good sense of her impact, while telling stories of so many love affairs and ego clashes Art Addict never feels a bit like a history lesson.

Despite the more forced and obvious aspects of the story, Barrial taps into the everyday reality of his characters’ New York with an impressive immediacy, abetted by especially fine contributions from cinematographer Luca Del Puppo and composers Lili Haydn and Christopher Westlake.

Unfortunately, Sex, Death and Bowling is as ungainly and overstuffed as its title, filled with enough dysfunctional family drama and quirky indie comedy tropes to fuel an entire film festival.