Documenting the 2010 journey in somewhat haphazard but always compelling fashion, Pad Yatra: A Green Odyssey well reflects its subjects’ goal of merging spirituality and environmentalism.

Rescued from decay after the director's 2011 death and looking radiant in a 2K restoration, this quiet gem is a time capsule whose potential audience may be small, but will be transported.

A loving biography of a guitarist whose work was "not folk, not blues, not gospel," but drew from and colored those genres and more.

The wholly amateurish doc offers much that has been explored more effectively elsewhere; though it makes a few fresh points as it gets into its second half.

Pray does not browbeat viewers into applauding the artist’s achievement. The filmmaker thoughtfully documents a phenomenon and allows the arguments to continue to rage after the lights come on.

While Lee leaves some of Park's more memorable outrages behind, he and screenwriter Mark Protosevich find one or two ways to up the taboo-testing ante, small surprises that retain the tale's edge without pushing into the realm of exploitation.

This holiday extravaganza with an all-star cast has a lot of failings. But it seems likely to tap into the audience’s enthusiasm for uplifting entertainment.

The proceedings are largely engrossing and the performances are mostly excellent, with especially strong turns by the female leads.

Gori Tere Pyaar Mein’s characters are so engaging, and the stars complement each other so well, that it’s easy to overlook the film’s faults and wish the best for them.

Ever-curious, self-deprecating about occasions in which his fumbling English keeps him from making questions clear, Gondry works with sweet earnestness to understand his subject and convey that understanding to us.

Page's no-regrets spirit and the enraptured testimonials from those who knew her in her prime (including some swooning ex-lovers) overpowers clumsy filmmaking.

As a document of the American political process, Caucus offers an intriguing if limited snapshot of a specific campaign season, but lacks either breadth or depth.

Directors Patrick Alexander Stewart, Gina M. Angelone and Mouna B. Stewart have failed to construct the often emotional personal accounts into a compelling film.

Although a bit too leisurely and featuring a few too many interminable group therapy scenes, the film nonetheless succeeds in packing considerable dramatic impact thanks to its incisive characterizations, realistic dialogue and well-drawn milieu.

Beautifully acted by the largely unknown cast, This is Where We Live is as reticent as its characters, its emotions emerging as much from what’s unsaid as expressed. Its admirably understated approach infuses what could have been an all too predictable, feel good drama with an intriguing complexity.

Passably absorbing to start, Shaul Schwarz’s examination of the issues surrounding Mexican and immigrant musicians who glorify drug lords and their exploits gradually bogs down in repetition and narrative inertia.

Stephen Frears is in full possession of his filmmaking talent in Philomena, one of his most pulled-together dramas in years.

Its hopelessly stodgy execution will test the patience of even the most enthusiastic audiences for faith-based films.

Homefront is sufficiently silly and low-down to be entertaining on a certain marginal level, but it wouldn't appear that those involved, with the possible exception of Franco, approached this with the idea that they might be making good trash; it looks too elaborate and costly for that and the script exhibits no self-aware humor.

A compact, effective thriller set in way-rural Ireland, Jeremy Lovering's In Fear makes the most of three actors, a car and a network of narrow roads winding through the woods.

Gimmicks aside, this decently acted and paced effort shows that the 74-year-old auteur can still be marginally transgressive, if not entirely original.

While a composited scene, in which has-been Lenny lectures his younger self about work ethic and wisdom, has an undeniable poignancy, actual tragedy remains far beyond the film's grasp -- as does any illumination beyond the unsurprising suggestion that Cooke just didn't want success as much as peers like LeBron James.

The doc happily devotes most of its time to a stylish, energetic account of Hanna's career to date and the impact it has had on a generation of women.

The filmmaker, who co-founded ADI with his wife Jan Creamer, documents the dramatic developments in compelling cinema verite fashion.

A quietly effective thriller with a few clever narrative tricks up its sleeve.

Art doc's stylistic quirks detract slightly from a sometimes fascinating portrait.

For all its fandom and self-indulgence, Dear Mr. Watterson does offer some insightful musings about the decline of comic strips in general, with their content ever shrinking due to the diminished state of the newspaper industry.

All of the cast members deliver smooth, capable performances, but this sequel clarifies why Howard has become the biggest star from the original ensemble. (He also gave one of the strongest performances in Lee Daniels’ The Butler this past summer.)