This intelligent and comprehensive documentary not only conveys the genuine nature of Hill herself, but also recreates the national sensibility of the time, an era when sexual harassment in the workplace was not yet a national concern.

Some years from now, Starred Up, a rough, violent and, to American ears, half-indecipherable British prison drama, will be remembered as the film that announced a new star, Jack O’Connell.

Meyer and Luke Matheny's script is full of the kind of nit-picky detail one hears when birders converse, and milks some life lessons out of philosophical differences between "listers" and "watchers."

Revealing tour doc showcases a quick wit and a bruised soul.

This is the rare film that would actually seem even creepier watched from home on your computer, preferably alone to enhance its voyeuristic effect.

Quai d’Orsay zips along at a good clip and benefits from the gruffly benevolent gravity of Arestrup, which offsets the machine-gun pace set by Lhermitte.

Sadly believable and benefiting from an unshowy performance by first-timer Gina Piersanti, it will have many viewers eager to see what Hittman does next.

The film's impact is greatly enhanced by the superb performances by the young lead actors who handle their characters’ complexities with impressive skill.

Frost is a likable lead and an easy rooting interest. But his affability isn’t enough to give this silly-sweet feature the edge and dimension that would make it a memorable contribution to the subgenre epitomized by The Full Monty — comedies in which middle-aged, unassuming Brits discover their inner showman.

Director Neil Burger struggles to fuse philosophy, awkward romance and brutal action. Even with star Shailene Woodley delivering the requisite toughness and magnetism, the clunky result is almost unrelentingly grim.

The film’s beauty lies in its carefully observed details and the larger story’s got nowhere particularly surprising to go.

The only things left out of The Single Moms Club are genuine humor and emotion.

A powerful documentary that reminds those of us who've moved on to other worries that this one is far from finished -- and that a government that proclaimed outrage during the summer of 2010 has seemingly done little to prevent or prepare for another such catastrophe.

Fort Tilden, the debut feature co-written and directed by Sarah-Violet Bliss and Charles Rogers, showcases a satirical voice so dyspeptic it’s almost endearing, never letting the abrasive lead characters – or anyone else for that matter – off the hook for their self-absorbed entitlement.

Awkwardly condensing more than 20 years into a running-time well under two hours, director/co-writer Cao Hamburger needs a bigger canvas for his well-intentioned but underpowered saga.

Young leads Shota Sometani and Fumi Nikaidou – both experienced film actors – grow in stature as the film progresses to the achingly real final scene, where they are extraordinarily intense and effective.

A blandly generic romantic comedy mainly notable for its largely centering on Iranian-American characters, Shirin in Love demonstrates that clichés cross all ethnic boundaries.

Rife with rom-com cliches and jaw-droppingly idiotic situations, the story is so off-putting that its irrationality becomes almost secondary to its pointless attempts to prove that opposites really do attract -- when they’re actually not as divergent as they first appear.

Although the film’s dark humor and colorful, thriller aesthetics provide some juicy material at the beginning, its overindulgence in chatter, fornication and occasional gore feels too blatant to make Sono’s social commentary run anywhere but skin-deep.

Allowing its subjects to bare their souls as much as their bodies, Exposed is as frequently moving as it is entertaining.

An episodic coming-of-age story whose plot holes are paved over by strong performances and a few emotional highlights.

What makes 20,000 Days on Earth distinctive is that it provides an overview of the man and his art while creating the illusion that this has come together organically -- out of poetic ruminations, casual encounters, ghost-like visitations and good old Freudian psychoanalysis.

The overstuffed film is definitely less than the sum of its admittedly occasionally scary parts.

Amusing but not as funny or suspenseful as it could be.

The repetitive storyline about successive heists during a Muppets European tour grows tiresome and the fun is intermittent.

Need For Speed is a flat, sexless movie that seems not to understand why people like to sit in the driver’s seat and rev that big engine: Because of the transgressive rumble in your nethers.

A spookily effective fright-fest.

Enjoyable heist pic is more talk than action.