Shot over the course of several years, Evolution of a Crime is often rough-hewn in its execution, but it's deeply moving nonetheless.

A long but powerful true-life drama of 1970s German terrorists features masterful storytelling and bravura performances.

There’s so much potency in Heineman’s snapshot of sadness, disappointment and resignation, that I frequently and ultimately found myself wishing it could be the full tapestry that a six-part miniseries might have allowed.

Certainly The Snake Pit will go down in Hollywood annals as one of the must unusual subjects ever attempted, and what is more to the point, successfully accomplished. It is bold and original — a defiant answer to those who say that our American motion picture creators cannot evolve a mature dramatic subject.

Sadly believable and benefiting from an unshowy performance by first-timer Gina Piersanti, it will have many viewers eager to see what Hittman does next.

If there is a disappointment, it is this: The anticipation may have exceeded the realization. It's a damn good commercial movie, but it is not the film that will revive the musical or win over the world.

I Am: Celine Dion abandons tricks of the eye for an unflinching look at the subject’s new reality.

A love story whose resolution remains tough to predict, Outside In respects all its characters by not pretending their choices are easily made.

It’s a visceral experience, albeit a less punishing one than some other modern war films.

With the aplomb of a modern Mesmer, DeMille forges The Greatest Show on Earth into a fabulous entertainment experience — a big, seething SHOW, spectacular, exciting, colorful.

It has got an intriguing premise, an effective cast, and it has been expertly mounted.

While the sense of closure that the film seeks to provide perhaps inevitably remains elusive, it covers another vital chapter in queer history, sadly still relevant in the ongoing frequency of violence against trans women.

This absorbing drama provides Denzel Washington with one of his meatiest, most complex roles, and he flies with it.

An urgent work, the burning anger of which will viscerally connect with many viewers, who will recognize themselves or people they know up on the screen.

In the end, an audience has far too much knowledge about Gregoire's movie projects and finances and far too little about what makes anyone here tick.

One of the aspects that makes Super/Man so satisfying is that for a biographical film in which tragedy and loss play such a central part, it’s rich in evidence of hope and kindness, gratitude and the resilience of the human spirit.

Sorkin has made a movie that's gripping, illuminating and trenchant, as erudite as his best work and always grounded first and foremost in story and character.

Is any of this believable? Not really. Is some of it plain silly? Definitely. But it’s mostly enjoyable to watch, even if the film flies so far off the rails that there’s less suspense here than in the director’s stronger works.

Hewson takes a flawed but good-hearted mess of a character and makes her sympathetic, likable and fully human.

What is most endearing is the delicacy with which writer-director Ritesh Batra reveals the hopes, sorrows, regrets and fears of everyday people without any sign of condescension or narrative trickery.

While there are a lot of names, facts and intriguing assertions to absorb here, Gibney and editor Michael Palmer weave the dense narrative into a brisk, gripping and fascinatingly detailed thriller, enhanced by Robert Logan and Ivor Guest's suspenseful score.

Serious moviegoers will be swayed by its many 'Being There'-like similarities as Kline's engaging personality and good-natured beatitudes are a perfect bromide for the nation's ills.

The film does not stand up to the current crop of music/concert films like "U2 3D," which brilliantly uses 3-D to show the Irish band in concert so as to encapsulate its relationship to its fans, each other and their own music, and "CSNY: Deja Vu," which hones in on the political connection Crosby, Stills, Nash and Young have to their music.

Despite the often insightful comments by the various cast members and Shepard himself -- the film doesn't dig very deeply into the artistic process of putting on a new play. But it does offer a fascinating fly-on-the-wall perspective.

Jeunet provides numerous pleasures, particularly visual, along the way.

Anurag Kashyap's Black Friday is a superb and devastating piece of cinema that with justification can be compared favorably to Gillo Pontocorvo's classic "The Battle of Algiers" in its dispassionate yet sweeping journalistic inquiry into cataclysmic social and political events.

Greenaway is first and foremost a deft storyteller and filmmaker -- and a cheeky art historian. An appreciation of art isn't necessary to enjoy Rembrandt's J'Accuse, and Greenaway goes to great lengths to draw the artistically illiterate into the story.

These are people at the frontline of idealism in action, working to alleviate suffering, one patient at a time, in some of the most devastated places on Earth.