Though the pint-sized protagonist is never far out of sight, the film’s vision is anything but limited, as various encounters in the desert conjure a vivid picture of a world that has remained unchanged for centuries but that is quickly coming undone.

Playing out against a dreamy Caribbean backdrop, Sand Dollars is indeed about dreams, unpicking those of a gracefully aging lady and her young lover with a trembling delicacy and attentiveness.

Make of it what you will, this off-the-wall film essay entertains hugely while it makes the audience squirm in their seats.

Frame by Frame is a work of profound immediacy, in sync with the photographers’ commitment and hope.

Trey Nelson's film can't help but evoke a feeling of déjà vu. But strong performances by Josh Duhamel and young Josh Wiggins (Max), plus haunting visuals of the barren Texas setting, provide some compensation for the narrative contrivances of Lost in the Sun.

This is a dish that has been prepared over a low heat for a long time, which makes for some pretty slow-going early on.

Director Bafaro shows little aptitude for the driving sequences which are stunningly dull in their repetitiveness and lack of visual flair. Shot largely from the driver's perspective and rarely bothering to show both vehicles in the same frame, Wrecker feels like an endless ride to nowhere.

An informative if less than thrilling account of a historic career.

Thugs offers a damning summary of the FDA approval process as a closed loop in which one hand washes the other and crucial data can remain hidden.

It’s always entertaining to tag along with these attractive actors on their photogenic journey.

Academic in its approach but very informative as well as surprising in the degree to which it addresses the man's foibles and ethical shortcomings, the film turns a welcome spotlight on a resourceful and singular artist who was forced to do everything from scratch in the absence of any local industry infrastructure.

Director Laurent Becue-Renard’s engrossing study of soldiers coping with trauma through intensive group therapy offers a rare look at real men shaken by real experiences, underlining the monumental courage it takes for them to get their lives back on track.

A delightful romp that captures the spirit of the adored 65-year-old comic strip.

The film seems more appropriate for a testimonial dinner than theater screens, with virtually no voices heard from outside Larsen's colleagues and acolytes.

A disregard for the rules established by George Romero (or the alternatives imagined by Danny Boyle) is far from the only problem with Christopher Landon's film, which does prove one thing fairly handily: Even beings deprived of the intellect and spirit granted to living humans can team up to produce a major studio motion picture.

There is a darkness in all these “average” characters, underlined by low-key acting and the film’s sinisterly calm, measured pace.

Though convincing in its (not exactly obscure) point that something needs to be done, and occasionally enlightening, Price suffers in comparison to the earlier film, with points that are often not adequately explored and decorative flourishes that distract instead of enhancing.

While the pictures have a stark power undiminished by the passage of time, it's the photographer's eloquent commentary that provides the film with its most moving moments

Bringing good old-fashioned Mediterranean emotion to a screenplay that feels oh so familiar, this modern-day weepie unapologetically plays to the crowd rather than the critics.

Meyer, whose credits include co-directing and co-editing the classic Grey Gardens, largely employs a fly-on-the-wall approach here that sometimes makes for less than compelling viewing. Nonetheless, the film earns points for the importance of its message.

Director Patricia Riggen finds a rigorous and affecting visual language for The 33, but she and her international cast are hampered by a screenplay that too often gets in the way of a powerful story.

Lack of originality and self-awareness prove to be a fatal combination. There is something way too familiar about Hoffman's rites-of-passage portrait of wasted youth, with its inevitable soundtrack of fashionable angst-rock and predictably retro-cool cult-movie influences.

Exploring the issue of whether being pro-life and pro-gun are mutually compatible, The Armor of Light puts a human face on the perpetually divisive topic.

Audley (Ain’t Them Bodies Saints), in practically every frame of the film, has to carry this feather-light narrative on his shoulders and does so with ease.

If this ambitious film never quite coheres into a single whole, something that an artificial division into several chapters only helps to underline, it does provide a lot to chew on along the way.

The Daughter spends most of its time following a recessive character who possesses information we’re not privy to, and the whole thing manages to be both remote and unsubtle simultaneously.

Through interviews and photos, Crump susses out the appeal of moving boulders and dirt with massive construction machinery.

Even at this late stage in the evolution of the franchise, logical lapses in filmmaking technique undercut the integrity of the found-footage format.... What may be less acceptable, however, is the film’s unaccountably weak effort to sort out the mythology concerning the series of demonic hauntings.