Prayer dwells with almost swooning rapture on the bodies of young men as they mete out brutal violence on one another, and features a cast composed mostly of unknowns, impressively coached in order to deliver arresting turns onscreen.

A work of old-school humanism that hovers between pro-Revolutionary fervor and a more objective documentary stance, Cuba and the Cameraman is sustained by the strong bonds of trust which the gregarious Alpert has evidently been able to maintain with Cubans from various echelons of this theoretically classless society.

Increasingly tense and benefiting from a well-thought-out script by Tony Gilroy, it finds a slim opening for heroics in a place where all parties are tainted.

Blending sensitive drama with musical fantasy and a heart worn unapologetically on its sleeve, Saturday Church is a modest charmer that plays almost like a narrative response to last year's feature documentary Kiki, about the New York voguing scene.

Suspenseful and funny, occasionally poignant and often nearly unbelievable, it captures a certain sociological flavor while remaining universally accessible.

Soufra's lasting impression is one of empowerment and the energizing sense of purpose and community that the women derive from the enterprise along with their incomes.

Achieves its goal of shining a spotlight on its subject while delivering a fascinating true-life tale.

The result is fascinating, often moving, if also incomplete.

It is a flashy, undemanding technical achievement, enhanced by the marquee power of Steve McQueen and Faye Dunaway.

It’s commonly thought that artists seldom make stories about happy, stable marriages because where’s the drama in that? Ethel & Ernest, a deeply affecting feature-length animated film, disproves that assumption by unfurling an emotionally rich story about the lifelong marital love affair between two kindly, modest people living in an inconspicuous corner of suburban England.

Even working with some of the most mainstream ingredients one could possibly find (including, in a funny moment, an NSYNC video) and one of the most familiar settings on earth, Guy Maddin knows how to make things strange.

McCarthy’s performance, which is paired with an equally rewarding turn by British actor Richard E. Grant, anchors this bizarre, compelling true story.

This vigorous, colorful and clever melodrama smartly rethinks both the play and the character, making her a far more proactive figure than Shakespeare did in addition to entirely reimagining her fate.

It's both a relief and a pleasure to report that this high-gloss rom-com — based on the bestselling novel of a Singaporean author, directed by an Asian-American and featuring an all-Asian cast — is such a thoroughly captivating exploration of the rarefied question of whether true love can conquer head-spinning wealth.

It contains some extraordinarily good acting by the late James Dean, Natalie Wood and Sal Mineo (who is coming up fast and reveals himself to be a real trouper in this one). The direction by Nicholas Ray is outstanding...This is a superficial treatment of a vital problem that has been staged brilliantly.

At first, the writer-director’s onscreen presence feels like an unnecessary distraction, and it could certainly be pared down. But as his interviews push deeper into the situation — and its overlap with the water crisis in Flint, Michigan — his investigative methods and congenial manner of confrontation prove productive, the results compelling and revelatory.

In a terrific performance that encompasses countless attitudinal, emotional and physical shifts, Joaquin Phoenix eases into the lead role with equal parts raw pain, ironic humor and eventual mellow acceptance.

There's more to Fred Rogers than any 93-minute documentary can contain, and it was easy for me not to lament what Neville wasn't doing and just to embrace what Rogers was.

If the movie’s slow burn seems to build toward a powerful release that doesn’t materialize, the sheer beauty of its craft and the heartfelt feeling behind every scene nonetheless command attention.

There is no denying that, initially, Transit’s story might feel excessively oblique. But as the film slowly puts its formalistic and thematic cards on the table, it becomes clear that its storytelling technique is really just a reflection of its core themes.

It offers an eccentric but accessible look at American high-rise history.

Playful, irreverent and unafraid to be politically incorrect, the pair script with assurance and direct with stylish understatement, pairing character and physical comedy to entertaining effect.

Stars Christopher Abbott and Mia Wasikowska go a long way toward keeping this tricky pic balanced, though Pesce's knowing use of sleazy-Seventies vibe (following the distinctive b&w spareness of The Eyes of My Mother, his only previous feature) creates the perfect world for them to do it in.

Less a coming-of-age film than a series of crucial episodes in that process, Skate Kitchen mixes dreaminess and disillusionment as it observes the choices Camille makes and the ensuing fallout.

One of the singular aspects of Fox's script is that it honors the messiness of real-life events, even if that means the film itself sometimes feels messy.

Newcomer Elsie Fisher offers a breakout performance.

Rippling with psychological complexity and sneaky humor, this is a rich character study that takes constantly surprising turns.

Scorsese's choice to make this a standalone feature and not a limited series seems mildly perplexing. Anyone hoping for the propulsive dynamism of, say, Goodfellas or Casino may be disappointed. But The Irishman is also on many levels a beautifully crafted piece of deluxe cinema.