The Dark Horse is an emotionally potent story of redemption anchored by a heart-piercing lead performance from Cliff Curtis.

The Good Dinosaur emerges as a visually breathtaking work of computer-generated animation that is ultimately unable to compensate for a disappointingly derivative script.

On their own, individual scenes are effective enough in semi-farcically portraying the ignorance, avoidance and/or downright denial by the practitioners of bad loans. Together, however, they are wearying in their repetitive nature.

Patterson makes the most of his access to the two musicians, shooting on the run as often as sitting down for interviews with key participants in the presidential contest.

A likeable if not especially vibrant doc.

After Laurent Cantet's Return to Ithaca starts out as one of those frustrating no-access parties, this reunion of five middle-aged friends on a Havana rooftop almost imperceptibly transitions into a richer, more emotionally expansive experience.

Heist nonetheless has a B-movie appeal thanks to its strong ensemble and wacky commitment to its overcomplicated, wildly absurd plotting.

One of the most egregiously awful horror films in recent memory.

A Christmas comedy of numbing tedium and tackiness.

A confident and quietly promising feature debut from director/co-writer Fellipe Barbosa.

This film is vital in uncovering a hazard that was kept hidden for far too long. At last the secret is out, and Landesman and his fine cast will help to keep the conversation going.

This Isn’t Funny is insightful and quick-witted, a romance that take chances while its lovers learn to do the same.

It may be Hot Sugar's Cold World, but that doesn't mean we have to live in it.

The Nightingale is technically remarkable. Beyond its socio-political context, however, the film offers hardly anything inventive to the familiar generation-gap rite-of-passage dramedy.

In a brisk hour and a half Vreeland gives a good sense of her impact, while telling stories of so many love affairs and ego clashes Art Addict never feels a bit like a history lesson.

Despite the more forced and obvious aspects of the story, Barrial taps into the everyday reality of his characters’ New York with an impressive immediacy, abetted by especially fine contributions from cinematographer Luca Del Puppo and composers Lili Haydn and Christopher Westlake.

Unfortunately, Sex, Death and Bowling is as ungainly and overstuffed as its title, filled with enough dysfunctional family drama and quirky indie comedy tropes to fuel an entire film festival.

There's no catharsis at the end from the journey taken, just relief that it's over.

What begins as a friendly trip grows increasingly tense as the men visit sites of mass murder.

Though the pint-sized protagonist is never far out of sight, the film’s vision is anything but limited, as various encounters in the desert conjure a vivid picture of a world that has remained unchanged for centuries but that is quickly coming undone.

Playing out against a dreamy Caribbean backdrop, Sand Dollars is indeed about dreams, unpicking those of a gracefully aging lady and her young lover with a trembling delicacy and attentiveness.

Make of it what you will, this off-the-wall film essay entertains hugely while it makes the audience squirm in their seats.

Frame by Frame is a work of profound immediacy, in sync with the photographers’ commitment and hope.

Trey Nelson's film can't help but evoke a feeling of déjà vu. But strong performances by Josh Duhamel and young Josh Wiggins (Max), plus haunting visuals of the barren Texas setting, provide some compensation for the narrative contrivances of Lost in the Sun.

This is a dish that has been prepared over a low heat for a long time, which makes for some pretty slow-going early on.

Director Bafaro shows little aptitude for the driving sequences which are stunningly dull in their repetitiveness and lack of visual flair. Shot largely from the driver's perspective and rarely bothering to show both vehicles in the same frame, Wrecker feels like an endless ride to nowhere.

An informative if less than thrilling account of a historic career.

Thugs offers a damning summary of the FDA approval process as a closed loop in which one hand washes the other and crucial data can remain hidden.