Wim Wenders' stylish 3D mirrors the bizarrely captivating world of choreographer Pina Bausch.

A naturalistic drama rich in psychology and attention to details. There's no glamour here, but one false move by anyone can result in death, so tension fills nearly every scene.

La Camioneta: The Journey of One American School Bus is just what the title indicates — and that turns out be an intimate and vivid report on a surprising connection between North and Central America.

The film is an empathy generator, an antidote to compassion fatigue.

A fabulous and passionate love letter to the cinema and its preservation framed by the strenuous adventures of two orphans in 1930s Paris.

It’s a non-stop blast from beginning to end, jam-packed with a wacky irreverence, dazzling state-of-the-art CGI (courtesy of Animal Logic) and a pitch-perfect voice cast headed by Chris Pratt, Elizabeth Banks and Will Ferrell.

Gloria is a work of maturity, depth and emotional insight. There’s not a single false note here.

Raimi's still very much up to his old tricks, retaining that deliriously over-the-top brand of Grand Guignol horror that he had abandoned by the mid-'90s in pursuit of other genres.

For a film so pessimistic about mankind, Taxidermia erupts with some light-hearted technical inspiration: Cinematographer Gergely Poharnok's compositions are wickedly hilarious, while production designer Adrien Asztalos' concoctions are peculiarly gross.

Serves as an amusing itinerary of dining, drinking and sexual dalliance that beguilingly plays with narrative time.

[A] solidly effective addition to Britain's social realism tradition, elevated by excellent performances by the young leads and some unexpectedly poetic touches.

An elegant meditation on one of the most distinctive bodies of work in contemporary art.

A solid example of low-key, well-observed, humanistically sympathetic ethnography.

It takes skill to successfully handle heavy issues with a light touch, but that's what German-born, Argentina-based writer-director Nele Wohlatz pulls off with her delightfully original documentary/fiction hybrid.

Jenkin's heavily stylized debut is a disorienting experience at first, but it ultimately creates a boldly Expressionistic mood of uncanny beauty and mesmerizing otherness.

As a penetrating study of character and milieu, it’s the work of a mature and enormously talented filmmaker not afraid to take chances.

Observed with granular detail and imbued with a pulsing sense of place, this novelistic drama takes time to connect its central triangle but does so with a suppleness and restraint that amplify the emotional rewards of its lovely open-ended conclusion.

The Friend’s House Is Here chooses to emphasize love, courage, community. It zeroes in on the sacrifices its characters make for each other, the community that builds around them, the resilience that keeps them going in the face of fear and oppression.

Hawke’s film is very well crafted, tightly edited and elegantly photographed. The acute musical selections only add to our appreciation of Seymour’s selfless devotion to his art.

Self-contained enough for theatrical audiences new to the series, it will play best with those who've come to care for these Brits over time.

It's not all violence and brutality. To allows his morbid sense of humor to shine through. There are moments of absurd hilarity that don't necessarily lighten the mood so much as bring it down to earth. The performances are strong all around.

It's rare for a movie to be at once so biting and so moving. If Ryan's future seems bleak, there's something exhilarating about a movie made with such clear-eyed intelligence.

The film is superbly crafted, covering huge amounts of time, people and the zeitgeist without a moment of lapsed energy or inattention to detail.

It provides a powerful depiction of the blame-the-victim culture that has so long dominated the national discussion about rape and which only now thankfully seems to be receding. Although there's clearly a long, long way to go.

The edges are perhaps rougher and the narrative more structured, but the film carries echoes of the work of Asian contemplative cinema maestros Tsai Ming-liang and Apitchatpong Weerasethakul, both of whom Yogi cites as influences.

A deluxe multi-character drama that blends real history with semi-fictionalized spy thriller and soap opera elements, Burning Bush feels in places like an extended Czech remake of the Cold War-themed German Oscar-winner The Lives of Others.

Newton’s storytelling is skittish and a bit too on the nose at times, but his palpable generosity toward his cast is rewarded with committed, passionate turns from the ensemble. However, Nicholson, a performer all-too seldom given a chance to lead, is the big door prize here, offering an intricately layered performance that lifts the whole film up a notch.

Bruce Lee's last movie is the only one that gives him the star treatment he deserved. His charismatic presence is remarkable in Enter the Dragon, and it's a shame he didn't have the chance to become the great, unique star he seemed destined to be.