Overlong and aimless documentary.

Considering the importance of the still active 93-year-old poet’s art and social activism, the film seems slight and discursive, more of an introduction than a definitive portrait.

Anchored by an admirably measured performance from Gael Garcia Bernal as the maverick advertising ace who spearheaded the winning campaign, the quietly impassioned film seems a natural for intelligent arthouse audiences.

You'll never play the titular parlor game again after watching Would You Rather, director David Guy Levy’s clever exercise in torture porn that manages to display as much restraint as genuine sickness.

With Melissa McCarthy playing a one-woman demolition team who, for 95 percent of the running time, is a genuine affront to nature, there are unavoidably some laughs here, although the gifted comic actor got more of them in less screen time in her previous films than she does in this starring role.

A rare example of a grown-up story compellingly told from the perspective of children, The Playroom is a modest gem.

This is a looser, grittier film than their work of late, and while it’s more successful in the sequences of bold theatricality than in the faux-cinéma vérité of the surrounding scenes, the mix is nonetheless an interesting one.

A visually lavish epic fantasy that happily marries the latest advances in CGI and action techniques with ancient Chinese fable and a Buddhist atmosphere.

With such an in-house cast of extended Coppola family sparklers, one would think things couldn’t go too wrong in the comedy department, but they have little chance to oil the wheels of a creaky script written around Sheen.

Upstream Colors certainly is something to see if you’re into brilliant technique, expressive editing, oblique storytelling, obscuritanist speculative fiction or discovering a significant new actress.

Park's unsettling visuals and his handling of the cast make the occasional holes in Wentworth Miller's script practically irrelevant.

A bizarre and baroque meditation on death, memory and the passage of time that ranks among the director’s more cryptic works (of which there are several in his whopping 100+ feature filmography), though it does offer up a few pleasurable moments.

The film falls into an interesting intersection between documentary and feature, between reality and fiction.

In trying to merge this alarmist theme with an old-fashioned murder mystery, the filmmakers throw at least one plot-twist sucker-punch too many, leaving the viewer with an “Oh, come on” reaction to the entire film.

Actually offers some decent scares before descending into typical horror film bombast.

Despite knowingly blank performances and a heavily ironic tone, the story ultimately accumulates emotional gravity, ending with a sardonic refection on the seasonal cycle of life that is worthy of a Kurt Vonnegut or Joseph Heller novel. Tragedy is comedy. Comedy is tragedy. So it goes.

An all-access pass to an artist embarking on a new path, this is entertaining stuff – funny, disarming, even poignant. It's also jammed with terrific music.

For all the impressive ease with which the filmmaker handles her tyke star, Nana never quite manages to achieve the thematic resonance to which it aspires.

While the original version's four hours might have made for wearisome viewing for Western audiences, Herzog's 94-minute cut feels just right, fully immersing us in this rarified world without lapsing into tedium.

The extra weight that the actor has packed on gives him an air of vulnerability that makes his character's ultimate emergence from his seemingly impenetrable emotional shell all the more moving.

Aims to be a cutting-edge portrait of cutthroat political machinations. But it's a mostly toothless affair that, like so many of our current political figures, proves alienating.

The low gore quotient and emphasis on young love might disappoint genre purists, but for those open to the idea of a gently goofy mash-up, the film is strong on atmosphere and offers likably low-key, if somewhat bland, charms.

Despite the dizzying array of talent involved both in front of and behind the camera, this godawful exercise is so painfully unfunny, so screamingly bad that it immediately qualifies as one of the worst films of all time.

The film is smart enough not to wear out its welcome. But that's the only sign of true intelligence in this juvenile caper.

The picture is far from great, but it's a serviceable B-movie with some A-list talent on a slumming expedition.

Dave Grohl has more than clout in his corner in his terrifically entertaining documentary Sound City. He brings elements that can't be faked -- passion and heart -- to this lovingly assembled insider account of what it feels like to make real handcrafted rock music.

A history lesson that holds some pleasures even for those who know its material by heart.

This universal story could easily serve as a dramatically gripping primer on topical immigration issues to schoolchildren across the globe, from Arizona to Afghanistan.