A documentary composed entirely of vintage source material, letting the era speak for itself and the "Great Communicator" show, oddly, both more and less of himself than intended.

Beyond the handful of obligatory escapades, gunfights and images of martyrdom, the film reveals itself as less a drama about extraordinary heroes than an illustration of life in a fallen city.

Sorkin both entertains and makes you lean in to absorb every detail of this wild tale, which boasts a stellar cast to help tell it.

Elegant and unsentimental, this is a minor-key, wintry ensemble piece with an emotional hold that sneaks up on you.

Almost Sunrise makes for powerful viewing.

Beneath the mild verbal shocks lay an excellent screenplay handled by real talent.

Wildly inventive on a micro-budget scale, actor Bill Watterson’s shift to directing is an impressively crafted feature that’s full of frequent surprises.

Co-directors Julia Halperin and Jason Cortlund (Now, Forager), working from Cortlund's script, keep us guessing not only about the intentions of Sinaloa (Sophie Reid), but also about the path of their absorbing, mostly low-key thriller, which builds atmosphere, psychological texture, an ingrained sense of place and a needling undercurrent of dread.

In unexpected and wonderfully satisfying ways, A Taxi Driver taps into the symbiotic relationship between foreign correspondents and locals, particularly in times of crisis.

Hughes' savvy notwithstanding, the appeal of Planes is due to Martin and Candy's comically controlled, ever-ingratiating performances.

The Nile Hilton Incident represents the type of penetrating filmmaking that only a writer-director intimately familiar with Egyptian culture but possessing an outsider’s perspective could convincingly accomplish.

The movie’s shifts in tone and focus can occasionally be distracting, but through it all Jungermann maintains a suitably dark undercurrent with an impressively light touch.

Jason Zeldes, an editor on Twenty Feet from Stardom, makes an accomplished debut as director here, delivering a film whose polished aesthetic matches its social import and potent emotions.

Showing levels of controlled concentration and unfussy flair far beyond what may be expected from a "student film," Machines powerfully evokes the sights and sounds — and almost even the smells — of a sprawling, stygian textiles plant south of India's eighth-largest (but very seldom filmed) city, Surat.

First-time director Dean does an excellent job of marshalling old source material, setting the scene for an account of Lamarr's life on- and off-screen.

Neatly divided into seven discrete chapters plus prologue and epilogue, it's a necessarily repetitive but engrossing and ultimately optimistic glimpse into a troubled situation entering belated turnaround.

Shot in 23 countries, the film has an amazing breadth and a relentless moral drive that will make it a reference point for this subject, whatever the audience response may be.

Though not as stuffed with rapid-fire laughs as In the Loop...this makes a very fine sophomore outing.

Renner and Imbert spend more time dishing out jokes than they do weaving the kind of meaningful narrative that made Ernest & Celestine so special, yet while Fox is more of a slaphappy romp than a morality play, there’s still a method to the madness.

Both Redford and Fonda are charming, delicate and convincing as Addie Moore and Louis Waters, the couple who find each other at the tail end of their lives. They are directed with sophistication and without a drop of melodrama or sentimentality by Ritesh Batra

The film should prove catnip to music lovers, especially blues fans.

Emerges as a dynamic action drama in its own right. Making sure of that is writer Taylor Sheridan, who's hatched a compelling new yarn that triggers rugged, full-bodied work from returning leading men Benicio Del Toro and Josh Brolin.

Contemplative and absorbing rather than rip-roaring and exciting, the film will likely play better to Western connoisseurs than to general and younger audiences, but it's an estimable piece of work grounded by a fine-grain sensibility and an expertly judged lead performance.

As it sheds light on these women’s experiences and the larger issue of homelessness among female vets, the film grows deeply engaging.

As the script and performances dive inward, exploring David's ability to endure while sending Cal into memories of hunting trips with his own father (Bill Pullman), the movie uses Todd McMullen's fine scenic photography to show how stranded they are.

Eccentric and occasionally hilarious, this is yet another uniquely Bozonian creation, which this time explores the transmission of ideas between teachers and students and the tricky notion that our good side might not necessarily be our best side after all.

Director/screenwriter Jones displays an ability to sustain simmering tension that's impressive for someone directing only his second feature film.

More ominously mysterious than outright terrifying, this is finely attuned, atmospheric filmmaking.