Essentially "Alien" set in a self-storage facility, the British low-budget horror flick Storage 24 doesn't manage to rise above the limitations of its bare-bones concept.

A barrage of unbelievable stereotypes try to kill each other in Barry Battles's dispiriting exploitation flick.

A supernatural action comedy that can never live up to its exciting opening scenes, Don Coscarelli's John Dies at the End mixes horror-tinged mayhem with smart-alec laughs but loses momentum early and gets bogged down in exposition.

Ultimately A Bottle in the Gaza Sea adds little insight into a conflict that has already inspired several powerful dramas, such as the recent "The Other Son," and is sadly likely to be the subject of many more.

Made up of synthetics rather than whole cloth, this lurid concoction superficially gets by thanks to a strong cast and jazzy period detail, but its cartoonish contrivances fail to convince and lack any of the depth, feeling or atmosphere of genre stand-bearers like "L.A. Confidential."

Interweaving clumsily staged action sequences with endless pontificating about evil mega-corporations privatizing public resources, the mediocre environmental-themed thriller A Dark Truth wears its good intentions on its sleeve.

As is often the case with directors who adapt their own life-histories, there's the sense that a little too close to his material.

Unlike the restrained 1974 film which cleverly relied mainly on suggestion, this version piles on the graphic, often CGI-enhanced gore.

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.

Unfortunately, Allegiance is less sure-footed in the filmmaking department, rendering its potentially suspenseful storyline stilted and uncompelling.

Billy Crystal and Bette Midler hustle to peddle the threadbare material that makes Andy Fickman's comedy a perfectly tolerable, if uninspired, moviegoing experience.

This is one hot, provocative, revelatory and astonishing documentary, one sure to provoke enthralled interest and controversy wherever it is shown worldwide.

The world's most famous acrobatic troupe delivers a feast of surreal beauty and moments of breath-catching wonder in the skilfully staged 3D film Cirque du Soleil: Worlds Away.

Magnificent in its simplicity and its relentless honesty about old age, illness and dying, Michael Haneke's Amour is a deliberately torturous watch.

A creakily old-fashioned comedy that forgot to pack the laughs along with the nudging and kvetching.

A slow-burning Cold War drama that will reward patient viewers with its ultimate emotional payoff.

Another charmingly eccentric exercise in meta-fiction from Portugal's offbeat new directing star Miguel Gomes, Tabu chooses to explore its characters without following narrative rules, or rather, by reshuffling hackneyed tropes from film and novels to turn them into strange, modern entertainment.

Becker is now completely paralyzed, unable even to speak. But Vile keeps him almost entirely offscreen until the last thirty minutes, preferring to introduce him as he once was: Uncommonly positive and single-minded in his obsession with the electric guitar.

Making her feature directorial debut at the tender age of 70, veteran actress Connie Stevens delivers an obviously heartfelt but sadly unfocused melodrama in the form of Saving Grace B. Jones.

Though certainly not for everyone (and not for kids of any age), the regret-tinged film displays a distinctive voice and will be embraced by devotees of offbeat animation.

Feel-good documentary gathers great interviews but isn't sure what they add up to.

This meta-theatrical attempt at creating a comically subversive film is far too self-indulgent to provide insight into its important themes.

Fortunately this necessary infotainment pill boasts a highly effective sugar-coating thanks to the narration and on-camera presence of moonlighting co-producer Jeremy Irons.

Only Tarantino could come up with such a wild cross-cultural mash, a smorgasbord of ingredients stemming from spaghetti Westerns, German legend, historical slavery, modern rap music, proto-Ku Klux Klan fashion, an assembly of '60s and '70s character actors and a leading couple meant to be the distant forebears of blaxploitation hero John Shaft and make it not only digestible but actually pretty delicious.

Yelling to the Sky drips with a strange but sometimes moving nostalgia for environs its characters clearly want to escape.

Tom Cruise is in fine form as mysterious tough guy Jack Reacher finally reaches the big screen.

The winning performances by its two leads elevate this contrived Israeli import.

This bloody exercise in camp quickly wears out is welcome, although its copious doses of nudity and gore, as well as its undeniably catchy title, should help it stand out on video shelves.