Whether viewers show up for the controversy or for the Bollywood star power of its charismatic leads, they should emerge impressed by its dazzling visuals and Bhansali’s masterfully composed and executed musical numbers.

The Opera House is a feast for opera lovers and anyone interested in urban planning.

A documentary that, like its subject, Supreme Court Justice Ruth Bader Ginsburg is eminently sober, well-mannered, highly intelligent, scrupulous and just a teeny-weeny bit reassuringly dull.

Lee draws us into the characters' space, judiciously using direct-address at the very end when all this inaction turns suddenly consequential. Pass Over is no happier in the end than the play that inspired it or the real events that inform how we interpret it

A Woman Captured is more than promising as a debut, achieving a specially intense intimacy with its subject that pays unquestionable and welcome real-life dividends for all concerned

A beautiful example of how a memorable film can be made on a shoestring.

Despite focusing entirely on a single individual speaking into a headset in a Danish emergency call center, The Guilty nevertheless emerges as a twisty crime thriller that’s every bit as pulse-pounding and involving as its action-oriented, adrenaline-soaked counterparts.

Impressively, first-time filmmaker and former Google commercials creator Aneesh Chaganty has also made a real movie, the story of a family that morphs into a crime drama that gradually ratchets up the tension as all good thrillers must, one that’s well constructed and acted as well as novel in its storytelling techniques.

Kailash ends on the right notes of hope, without abusing sentiment.

The Sentence is so committed to its concentration on emotion and heart that it's difficult not to get carried away, and it feels almost churlish to quibble with the intellectual responses it barely aspires to.

Energetically lurid, gratuitously violent and a hell of a lot of fun, horror-satire Assassination Nation is a throwback to black-comedy teen flicks of yore, but with a bitingly timely feel.

Foley's cult may never grow as big as his most ardent fans would like. But Hawke and Rosen and Dickey have given the man something better than posthumous record sales.

Restrained, affecting and tenderly observed with a distinctly female gaze, the film takes some time to locate its center as an intimate drama of resilient sisterhood. But the delicacy of the bond etched between Fishback's Angel and her 10-year-old sibling, played by captivating discovery Tatum Marilyn Hall, keeps you hooked into this melancholy but hopeful story of fractured family dynamics.

It's easy to see why this deeply thoughtful, self-made diplomat has succeeded where so many others have failed. It's thus all the more poignant that his own demons have proven far more difficult for him to tame than so many of the world's.

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

Sanchez delivers a couple of very effective twists that change the nature of his tale.

It's visually that Season of the Devil ranks among Diaz’s best work.

The story is narrated, off and on, by tag-along Wilson, but Garcia Bernal is in full control of the film.

Kahn never offers an easy way out for Thomas, even if the finale tends to wrap things up in ways that seem a little too conclusive. But his film mostly explores, with steadfastness and moments of raw emotion, the crude uphill battle faced by junkies on the path to recovery.

The film devastatingly makes clear the extent of Russia's propaganda meddling, which has particular resonance in light of its recent attempts to also interfere with elections and public perceptions in America and Europe.

The Endless is not just about latent power struggles within cults but also within families, and about how both are eclipsed by more ancient, malevolent cosmic forces.

Featuring sharp performances from Marina Fois (Polisse) and promising newcomer Matthieu Lucci, the film shows Cantet returning to form...with a story that pursues the themes of his best work while underscoring some of the issues currently facing his homeland.

It's a riveting narrative, and even those not among Houston's more passionate fan base will find it an emotionally wrenching experience.

It proves that Beauvois still masters his uniquely classical brand of filmmaking, coaxing strong performances out of veteran Nathalie Baye and newbie Iris Bry, who makes an impressive screen debut.

With its lyrical sense of place and terrific lead duo of Johnston and Rene Cruz, it's a strong example of low-budget regional filmmaking.

Driven by Cummings' transfixingly vulnerable performance, the movie not only justifies returning to the source: Shockingly, it does so without even using the device that seemed key to the short's success.

It shows the maverick filmmaker once again at the height of his expressive powers. Its stripped-down narrative and uncompromising repetitions will not be tolerable to everyone, but audiences willing to stick out the punishing but dazzling last half hour will walk away with a lot.

This is a rape retaliation thriller both tautly controlled and wildly over-the-top, executed with flashy style, sly visual humor and a subversive feminist sensibility.