This material cant help but be interesting, even compelling up to a point, but its prosaic presentation suggests that the story's full potential, encompassing deep, disturbing and enduring pain on all sides of the issue, has only begun to be touched.

Director Camille Delamarre (Brick Mansions) and his collaborators have devised a few nifty sequences.

A deadly earnest polemic whose good intentions are smothered by its inept execution.

The necessity of circumstances dictates everything anyone does here and you can only react with varying degrees of outrage, anger, disgust, pity, empathy and, if you're a blind optimist, hope for something better.

With its perilous central premise and gallery of individuals some of whom are destined not to make it, you could say Everest is a disaster movie in the old Hollywood sense of the term, but it doesn't feel like one. And that's a good thing.

Knowing and funny without straining to be clever, the found-footage-style pic works better than the Duplass Brothers' 2008 Baghead, with which it has some elements in common.

Should well succeed in attracting their literally faithful audiences, although its heavy-handed proselytizing and soap opera-ish storytelling will prove a turn-off to those who don't pray on a daily basis.

Finders Keepers charts out a screwy insight into humanity that is usually only captured in the minds of twisted cartoonists.

A winning film about reconciling one's self-image with reality.

Schilling the director proves even less adept than Schilling the screenwriter, bathing the melodramatic proceedings in an overbearing musical score more appropriate for a daytime soap.

Stylish but slight, Arnby's debut feature ultimately sticks within werewolf movie conventions, adding little fresh to the form.

Making the most of its limited budget, Blood Punch is an audacious, gruesomely violent and darkly funny thriller that enjoys messing with its viewers' minds.

The Golden Cage (La Jaula de oro) is a lukewarm examination of a hot-potato political issue.

This B-movie, reminiscent of '70s era grindhouse fare, is a reasonably proficient and professional debut that fulfills its modest aspirations.

Pod has a hallucinatory quality that makes up in ferocity what it lacks on cogent storytelling.

Despite the obvious sadness at its heart, the doc benefits from an unforced optimism.

A pitch-perfect pastiche that never mocks its inspirations, the picture is silly fun to warm the hearts of aging fanboys and delight hipsters who weren't yet born the first time Mel Gibson donned Max's leathers.

We Are Your Friends is predictable, sometimes tacky, but the energy is unflagging, the eye candy plentiful and writer-director Max Joseph (making his feature debut after hosting MTV’s Catfish) brings sincerity and a skillfully modulated sweetness to the material.

No Escape is a pedestrian but modestly gripping nerve-jangler from writer-director John Erick Dowdle.

Filled with strong performances and numerous twists that keep the tension high, even if the plot gets tied up a tad too neatly.

While the two leads are appealing and display an undeniable chemistry, the narrative skimpiness makes their efforts for naught.

Co-scripted by a slumming Bret Easton Ellis, The Curse of Downers Grove is all over the place in tone, never managing to decide what kind of film it wants to be.

What we're looking at is, in essence, an artwork that looks at other art — a concept film about a conceptual art project. It suggests that a one-minute part can be the whole for one viewer or that, conversely, the whole is made up of an infinite amount of smaller parts that can each tell only a small part of the story.

From laughs to smarts to a credible interest in rehabilitation, lovers of love would do better to go see "Trainwreck" again.

Disparate influences percolate but never quite cohere in Andrew Droz Palermo’s first narrative feature One & Two, which while atmospheric and beautifully lensed ends up being a touch too elliptical for its own good.

First-timer Naar both fails to convince us of his subject's musical genius and gives the impression he's leaving out important details.

A highly enjoyable look at a career spent duping the art world.

A pungently immersive evocation of traveling on Chinese trains.