A Small Section of the World ably fulfills its mission of delivering its inspirational tale, but still seems mainly suitable for a corporate meeting.

This mash-up of cop thriller and torture porn features some clever twists and provides the opportunity for some terrific characters actors to strut their stuff. But Poker Night ultimately deals a losing hand.

The conceit is pure genre fluff, but the underlying economics make less sense upon closer inspection... That said, Maiga projects so much intelligence and integrity it's hard not to warm to her character and she has believable chemistry of the mismatched kind with Boublil, who's up to his usual but quite charming shtick.

If anything, the movie offers up the guilty pleasure of seeing Bridges and Moore duel it out in front of countless green screens and a few stunning Canadian backdrops – two great actors clawing at each other with magic staffs and fake fire, trying to survive in the netherworld of heroic kitsch.

This twisty fairy-tale mash-up shows an appreciation for the virtues of old-fashioned storytelling, along with a welcome dash of subversive wit. It benefits from respect for the source material, enticing production values and a populous gallery of sharp character portraits from a delightful cast.

Paul Schneider shines in the role, stumbling through a dating world that has changed since his character got hitched, thanks mostly to social media.

Sifting the pieces of a broken lesbian relationship, the slender, seemingly autobiographical film has its share of neurotic charms and funny one-liners, but it’s too tentative about digging into its identity conflicts -- sexual or cultural.

The filmmakers get astonishing access, eventually earning enough trust that they get to visit Guzman's family home and interview his mother, who proudly recalls how fascinated he was with stacks of play money as a child.

Putting aside the grating performances, the clumsy direction, the visual ugliness and the haphazard development of story, character and relationships, the movie is hobbled by its intrinsic unsuitability for contemporary retelling.

An intensely sophomoric and rampantly uneven comic takedown of an easy but worrisomely unpredictable target.

Despite relocating across the pond to the esteemed British Museum, the creaky Night at the Museum: Secret of the Tomb fails to capitalize on the comic potential provided by that change of venue.

A Little Game is a sweetly well-intentioned effort that displays a personal stamp even while occasionally descending into mawkishness.

In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature-length film.

Quite powerful despite relying on familiar storytelling tropes.

It should be a sturdy player upon its release in home video formats, assuming that its target audience knows how to operate their DVD players.

Featuring endless scenes of multitudes of women baring their breasts in public in various areas of New York City, Free the Nipple is an unfortunately tone-deaf and poorly executed drama that doesn't exactly help its cause championed by the celebrity likes of Miley Cyrus and Lena Dunham.

The Salt of the Earth doesn’t reveal so much as gracefully confirm that the empathy and humanism that make Salgado’s photojournalistic work so special are also a part of the artist’s outlook on life.

Some parts – the solid cast, a few well-turned one-liners – are really quite good indeed, although viewers have to wade through a moderate fug of reindeer fart jokes to get to them.

A film whose very surreal, disturbing first hour dissolves in disappointing B-movie nonsense at the end. Still it’s hard to remember a film about S&M as funny as this one, or one as beautifully and weirdly imagined.

All the actors know how to turn on the charm and director Johnnie To hits the laugh buttons, but the main aim seems to be playing on women’s fantasies about three very hot guys who are dying to drop everything and fall in love.

The film gives a lot of space to emotions, but Crowe reins in his outsized personality to contribute an affecting, understated performance and, as director, underplays the allegories, particularly the recurring water motif, so they seep through the narrative organically.

Shot in precisely composed frames, with recurring visual motifs and an eye-pleasing color palette that accentuates blue hues, Tip Top is commendably ambitious in its Godardian attempts to deconstruct the police thriller format, but it's only partially successful.

Ukrainian director Sergei Loznitsa’s Maidan harkens back to the heroic, journalistic roots of documentary-making and yet feels ineffably modern and formally daring. It’s a tiny marvel of a movie.

In tracing the origins of this restaurant staple, Ian Cheney's The Search for General Tso is as much an immigration history as a culinary one, observing how a people who were demonized as low-wage laborers found entrepreneurial success in small and large towns across the country.

Tales of the Grim Sleeper is unusually somber and conventional by Broomfield's standards, relying more on slow accumulation of detail than caustic commentary or ambush interviews. But it has a quiet emotional force which pays off during the powerful final sequence.

The film is more than just a chic thriller. Alongside its clear -- at times overly so -- depiction the pain and vanity of social inequality, Virzi and the fine cast explore the unhappiness of rich and poor alike in a society that measures a person’s value in terms of euros.

With Gere’s character so lacking in memory and mental clarity, the film provides very little for an audience to latch on to. Tedium quickly sets in and is only sporadically relieved in this labor of love that simply doesn’t reward even the patient attention of sympathetic viewers.

A sober drama that makes class central to the story without ever sounding like it has an agenda.