Neville unearths a treasure trove of archival TV, concert and film footage featuring many of these vocalists in their heyday, balancing the material with perfectly-lit contemporary studio interviews and performances shot in pristine digital cinematography, supplemented by more informal scenes depicting the frequent challenges of these musicians' careers.

This nastily efficient horror film delivers genuine chills.

Danny Boyle has great and plainly evident fun adding twists and curves and tunnels and endless style to his modern London noir Trance, but he makes so many left turns that the film turns in on itself rather than going anywhere.

The ideal animated film for Ron Paul to watch with his grandchildren, the bizarre Silver Circle certainly deserves points for sheer eccentricity.

Features a winning performance by Sara Rue as its titular heroine but otherwise has little to recommend it. Playing a wallflower who blossoms when she finally meets the right guy, the actress has charm to spare.

Unfolding like an espionage thriller but with a methodical journalistic skill at organizing a mountain of facts, the film raises stimulating questions about transparency and freedom of information in a world in which governments and corporations have plenty to hide.

Costa's inquiry into that life offers a deeply felt angle on the broader realities of life in Paraguay during the '80s; while the intimate film is unlikely to expand beyond niche theatrical bookings, it will affect many who see it.

This would all be moving enough, but the film also benefits greatly from Conde’s endlessly charismatic personality.

Endearing performances buoy predictable film about love in the wake of divorce.

While virtually everything that happens in this grown-up rom-com can be seen coming a mile off, Danish director Susanne Bier’s assured touch and warm regard for her characters make the film both pleasurable and satisfying.

Generates a fair amount of tension and produces the kind of nationalistic outrage that rock-ribbed Americans will feel in their guts.

The filmmakers do fall into the trap of overly sentimentalizing a widely beloved public figure who represents an enormous cultural significance. At the same time, however, they keep the movie frequently engaging.

Argentine director Pablo Trapero fashions a gripping, fast-paced story.

While on the surface, this is a variation on boyz-in-the-‘hood dramatic staples, the film is rooted in anglicized Arab culture yet universally accessible in its reflections on identity issues. It’s a very promising debut – slick, muscular, entertaining and emotionally satisfying.

[A Hijacking] illuminatingly and sensitively dramatizes an easily-overlooked global crime phenomenon.

A riveting first feature of startling maturity and intelligence.

Trippy in the best sense, Vanishing Waves adds a healthy dose of eroticism to its familiar sci-fi genre.

This assemblage of star-filled shorts makes for a generally rewarding grab bag.

This is a beautifully crafted work and an acute evocation of its period both in look and attitude, and it’s no less deeply absorbing for being somewhat muted in tone.

A modern cinematic equivalent of the sort of tired sex farces that used to populate Broadway with regularity, If I Were You simultaneously exploits and squanders the talents of its star, Marcia Gay Harden.

Part adventure saga, part elaborate home movie, the documentary showcases both the emotional and physical pitfalls faced by this emotionally fraught crew.

Slasher-movie fans, however, need not be put off by the stylized camera work and arty patina: this is down and dirty genre filmmaking, and the various slaughters, excruciatingly detailed scalpings and other atrocities are no less gruesome because of the highfalutin approach.

This head-scratcher boasts visual imagination to spare even as its logistical complexities and heavy-handed symbolism ultimately prove off-putting.

The Call for the most part is a tense, extreme-jeopardy thriller that delivers the intended goods.

Throughout, the film's subjects convince us they're doing nothing more than being themselves, so much so that a cynical advisor told Sutton he should market his film as a documentary. That label would prepare potential viewers for Pavilion's lack of story, but it would make a lie of the movie's patient, finely drawn loveliness.

Lent distinguishing heft by its roster of screen veterans, this gripping drama provides an absorbing reflection on the courage and cost of dissent.

A gore-for-broke affair that strips the flesh off Sam Raimi's cult-beloved comic-horror franchise and exposes the demons at its core.

Full of overwrought campery and vicious drag queens, K-11 feels in places like a deranged John Waters remake of "The Shawshank Redemption."