The Amina Profile is an absorbing, artfully assembled and timely reconstruction of a fascinating digital-age hoax.

Following up on his lauded debut, Welcome to Pine Hill, Miller again blends fiction and reality to fine effect.

A good-looking debut offering more atmosphere than action.

A run-of-the-mill crime drama that toes the risibility line on several occasions, even if it’s better made than your typical straight-to-video movie.

Taken on its own undemanding terms and considered within its not very original framework, Joel Edgerton’s feature-length directorial debut is a pleasant — or pleasantly unpleasant — surprise, hitting its genre marks in brisk, unfussy fashion and raising a few hairs on the back of your neck along the way.

Martin's script holds some hard-boiled appeal, but his direction (some nice technical flourishes aside) doesn't back it up.

While its emphasis on character dynamics and a slow burn atmosphere is to be commended, Dark Was the Night is too derivative and familiar to make much of an impact.

At isolated moments a tolerably amusing send-up of alien invasion disaster movies in which the attackers are video arcade-era renegades arrived to gobble up as many famous landmarks as possible, this one-note comedy runs out of gas within an hour (it is based on a short film) and should have been trimmed to a neat 90 minutes.

For a younger generation who think that Madonna and Lady Gaga represent the heights of outrageousness, The Outrageous Sophie Tucker stands as a much needed reminder that they have a very large debt to pay.

Neither funny enough as an outright comedy nor solid enough as a drama, and certainly not believable as an affaire de coeur.

The overall result remains quite light, is occasionally funny but finally never manages to probe very deeply.

Safelight squanders the efforts of a talented cast who are unable to lift the material beyond its clichés.

A Hard Day offers a masterclass in throat-squeezing, stomach-knotting suspense.

With predominantly improvised dialogue and performances, Felt gains scant narrative complexity from an over-reliance on a no-frills documentary style.

Gameau clearly has good intentions, and generally succeeds in sweetening a potentially bitter subject for easy public consumption.

Energetic, laugh-stuffed and very colorful (it would be a feat to make a dull film about these people).

There’s a fine, fierce film somewhere in Jenny’s Wedding, trying to claw its way out from under all the clichés, speechifying and sappy pop music.

It’s an instant camp classic, especially because it takes itself so adorably seriously.

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.

Diez's effects teams have tremendous fun with the gory ways they tear through their hosts' bodies when it's time to leave the chrysalis behind.

Its subjects are indeed a fascinating and diverse lot.

A time capsule capturing the flavor of early-'70s bohemian life in Oklahoma and Texas.

Art fans might reasonably expect one of the world's most successful painters to display a distinctive or at least appealing visual sense here, but they will be disappointed by Yasutaka Nagano's pedestrian photography; the film fares even worse in terms of storytelling and pacing.

The clear-eyed film dedicates itself to breaking through the debris of cliched, one-dimensional public impressions of vets, bikers, immigrant wives and kids and trailer-park lifestyles as it fashions an involving portrait of a deeply scarred man sustained by certain rituals and an unextinguished sense of empathy for others’s problems.

While the systematic corruption of innocents under an outwardly benevolent protector makes for a disturbing scenario, Australian newcomer Ariel Kleiman dulls the unease with his studiedly enigmatic approach.

This bouncy and effervescent film often has the kind of timeless charms that can also be found in the early New Wave films, even if the screenplay, set against the backdrop of the massive 1999 student protests in Mexico City, unsuccessfully tries to smuggle in a slightly more serious and topical undercurrent via the backdoor.

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.

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.