The film is most successful when it concentrates on its subject’s personal life. His candor in discussing his sexuality and other subjects is endlessly refreshing in this era when politicians are mostly defined by their timidity.

Boy Meets Girl is a funny and touching comedy/drama boasting a superlative debut performance by Michelle Hendley.

This intriguing if hardly revelatory account offers some provocative moments, even if the personal access doesn't really add very much.

A shocking but ultimately galvanizing work of reportage that meets the same high standard of their previous collaboration, The Invisible War.

Karim Ainouz has always been more attentive as a filmmaker to the creation of atmospheric and emotional texture than to story or character, and that bias inhibits this visually seductive drama from fully engaging beyond the aesthetic level.

Despite an appealing cast, though, neither comedy nor suspense really takes flight until very near the end, largely due to a script that isn't equal to the filmmakers' enthusiasm.

Ejecta is ultimately too disjointed and incoherent to have the desired impact. But it certainly features some arresting moments during its wild ride.

Campillo thankfully refrains from offering on-the-nose explications for behavior and decisions, instead letting audiences infer psychology and motivation from on-screen behavior, with the entirely naturalistic performances of Raboudin and Emelyanov beautifully tuned in to each other and the material.

The Point Break-style plotline is merely an excuse for an endless series of scenes showing off the parkour practitioners in action.

While this effort directed and co-scripted by Georgina Garcia Riedel lacks true comic inspiration, it provides some genial laughs along the way.

This film complements rather than duplicating the recent fest title "Butterfly Girl," which also refused to settle for generic notions of bravery and endurance to hone in on an individual teen's specific experience of illness.

Joe Lynch's determinedly B-movie exercise is strictly formulaic but should well please genre enthusiasts who will relish watching the sexiest female badass since Uma Thurman in "Kill Bill."

From its generic title to its familiar child in distress storyline to its hackneyed depiction of things going bump in the night, Out of the Dark is thoroughly forgettable.

The screenplay by Luke Dawson and Jeremy Slater begins promisingly enough with its slow-burn examination of the various moral issues involved. But once Zoe is resuscitated the proceedings descend into familiar horror film film tropes.

This ultra-slick, fantasy-inducing visit to an international wonder world of wealth and deception plays more like an inventory of thieving and gambling techniques than a captivating diversion, even if it's hard not to be voyeuristically pulled in by some of its ruses.

Keeping exposition spare, Edmands’ storytelling displays a pleasing economy of means, and an empathetic handle on characters all flawed in one way or another, existing in self-imposed solitude.

Bert Marcus offers more sociology than boxing fans may expect, using mean-streets origin stories not just for biographical intrigue but to comment on hardships his subjects faced later in life.

Funny, dark, and riding a very fine line in its depiction of mental illness, it may be the best thing we could hope would emerge from the side of Wiig that gave us Gilly.

Solid performances from the small cast and robust visuals will be clear selling points with audiences seeking the raw excitement of an elemental survival film.

Over the long haul, the Wolfe brother never quite provide enough psychological and emotional ballast to flesh out their complex, conflicted characters. But these are minor flaws in an otherwise confident, gripping, highly charged debut.

Despite its effort to double as a sincerely impassioned message about female empowerment, My Way mainly comes across as a relentlessly self-serving promotional vehicle.

It is a testament to the immersive immediacy of Victoria that the scale of its technical achievement only really dawns on you afterwards.

This is not to say that there isn't plenty of obvious truth and common sense in many of the film's assertions. But then again, even a stopped clock is right twice a day.

Do not be fooled by the playful, irreverent tone. Behind its attractive surface sheen of lusty humor and ravishing visuals, this Trojan Horse drama makes some spiky topical points about the lingering scars of slavery, feudalism, misogyny and racism.

A playfully self-reflexive exercise whose endless in-jokes will best be appreciated by only the most ardent genre aficionados.

Unfortunately, A Convenient Truth doesn’t manage to sustain its comic premise over the course of even its admittedly brief feature-length running time. The thin joke would seem more appropriate fodder for a brief sketch towards the end of a Saturday Night Live episode when time needs to be filled.

A flop-sweaty cash grab that gives a bad name to sequels in which key talent has jumped ship... Viewers who expected nothing from the first but were pleasantly surprised will get burned badly here.

The Second Best Exotic Marigold Hotel is a sluggish also-ran compared to its predecessor.