Dukhtar (Daughter) may not be 127 Hours, but Afia Nathaniel’s feature directing debut generates enough tension to fuel a harrowing real-life story while adding another unforgettable heroine to cinema from the region with Samiya Mumtaz’s measured portrayal of a Muslim woman taking charge of her life.

Featuring a stellar cast apparently seeking to prove that they're interested in being popular in red states as well as blue, Big Stone Gap goes down relatively easy, but it contains lots of empty calories.

Prabhudheva and frequent collaborator Shiraz Ahmed have slapped together a cacophonous pastiche of toilet jokes, high energy brawls and half-hearted love scenes, and their wafer-thin screenplay manages to conjure up a reason to include a heroine who doesn’t speak Hindi.

A pretty straightforward coming-of-age story that’s well-observed and manages to be intimate and explicit without becoming exploitative.

A film that flirts and flirts with explanations for its action without ever delivering.

Guilty (Talvar) is a gripping thriller and police procedural.

Ultimately little more than an extended commercial for his new album. That said, it is an effortless pleasure to watch

Keeping the creepy/kooky mix entertainingly intact, Goosebumps translates R.L. Stine’s frighteningly successful young adult horror fiction series to the big screen with lively, teen Ghostbusters-type results.

A feel-good Cold War melodrama, Bridge of Spies is an absorbing true-life espionage tale very smoothly handled by old pros who know what they're doing.

Rarely are documentaries as powerfully polemic and jaw-gapingly spectacular as Sherpa.

Hitchcock/Truffaut is a resourceful, illuminating and very welcome documentation both of filmmaking and the making of film history.

Though the film stretches out long enough to impress us with the difficulty of their journey, the four actors ensure that the two hours or so we spend in their company aren't dull.

An intriguing, offbeat surprise.

Despite its late shortcomings, Going Away demonstrates Garcia’s ability to coax strong performances out of a relatively young cast.

What comes out of this unlikely comparison between astronomy and history is a totally new perspective, something broader, with glimpses into deeper meanings.

It is the director’s extraordinary intuition about the synchronicity of history, geography and the physical universe – a mysterious relationship that has nothing to do with cause and effect – that gives the film and its predecessor their undeniable power.

Constantine’s skills as a first-time dramatist are a serious weakness here. Though the subject matter is rich and the soundtrack terrific, character and plot take a back seat.

The film deftly explores the story's complex moral issues from several sides.

While the stories the film tells are lively and never uninteresting, they fail to ignite an emotional explosion. The reach is also too broad for a film.

Harnessing the wizardry of 3-D IMAX to magnify the sheer transporting wonder, the you-are-there thrill of the experience, the film's payoff more than compensates for a lumbering setup, laden with cloying voiceover narration and strained whimsy.

Becoming Bulletproof is as enjoyable as it is inspiring.

This carefully-crafted tale of collective psychosis, satanic ritual abuse and pseudo-science, starring Ethan Hawke and Emma Watson, is satisfying as a compact, if over-cautious, horror-tinged psychological thriller. But it's most interesting beneath its polished, doomy surface, where complex concerns about the cultural origins of our fears are skillfully explored.

Like many science-fiction films, Star slowly but surely reveals itself as a parable of our self-destructive times – an artsy Interstellar with a threadbare narrative rather than one that’s forever running on hyperdrive.

Rising to the challenge of delivering a rousing finale, Hosoda does sock over a spectacular climactic battle on and below the streets of Tokyo with imaginative aplomb.

An engrossing real-life adventure that brings much-needed attention to an important environmental issue.

The story's quiet power comes from its sensitive observation of the characters as normal, emancipated young modern women, with healthy desires and curiosities, whose supposed transgressions are imagined and then magnified in the judgmental minds of others.

Whatever you have to pay, it's too much.

The general air of slipshod incompetence thus torpedoes the intriguing concepts underlying Lewis's screenplay.