Ai Weiwei: The Fake Case is a professional, straightforward example of the behind-the-headlines sub-genre, executed in slick high-toned digital video and eschewing the soundtrack music so ubiquitous in documentaries nowadays.

A compassionate and psychologically revealing doc.

While it's more dramatically diffuse than the reboot and lacks a definitive villain, the new film is shot through with a stirring reverence for the Marvel Comics characters and their universe.

The heavily stylized film further demonstrates the actor's ability to create self-contained worlds behind the camera.

Without creating fully fleshed characters or truly involving conflict, the film aims instead to provoke howls of recognition and tears of gratitude by appealing to very basic notions of parent-child love.

It’s a rather fascinating bit of artistic self-indulgence that’s both made by, and about, self-indulgent men, although one that can certainly grow taxing. [Unrated Version]

This superb documentary captures Gore Vidal in all his ever-articulate glory.

More warm-hearted than funny, Schwarz's feature debut benefits from an intelligent script and sympathetic lead performance by Griffin Dunne

Superbly made but burdened by some dull human characters enacted by an interesting international cast who can't do much with them, this new Godzilla is smart, self-aware, eye-popping and arguably in need of a double shot of cheeky wit.

This is less a film about terrorists than an intimate portrait of boys growing up in a toxic environment. All the non-pro actors turn in natural performances, but the dark, brooding Rachid gets under the skin in the main role.

Atmospheric visuals and strong performances aren't enough to compensate for this would-be poetic drama's thin plotline.

It’s a marvelously imaginative conceit that transforms what could have been yet another dryly informative documentary into the realm of art.

Despite Meat Loaf’s hammily entertaining turn as the desperate owner of a musical theater summer camp, the film fails to live up to its obvious inspirations.

An elegant meditation on one of the most distinctive bodies of work in contemporary art.

It’s a loud Oz hodgepodge that never adheres to a prevailing tone long enough to allow viewers to emotionally engage with those characters in spite of some admittedly inspired CG flourishes.

Documentary will play best with very serious classical fans.

Another deep disappointment for fans of the raw, exciting "Ong Bak."

Banks succeeds in mining a few laughs from the otherwise strained, contrived proceedings.

Although unlikely to make any new converts, The M Word should well satisfy the filmmaker’s small legion of devoted fans.

The film will leave viewers feeling emasculated in more ways than one.

Advocacy filmmaking that also manages to succeed in pulling heartstrings.

Credit a rock solid turn by lead Jon Hamm that doesn’t shy away from revealing a darker underbelly to his underdog character, as well as a keenly-observed script by Tom McCarthy and deft direction by Craig Gillespie for the rewarding changeup.

A sharp-looking and enjoyable doc that celebrates the writer's legacy but, in its willfully obscure structure, seems a bit too bent on echoing his famous nonconformity.

With its splashy paintbox palette and jaunty pop soundtrack, All Cheerleaders Die just about hangs together as a cheerfully goofy romp.

Frame by frame, Ida looks resplendently bleak, its stunning monochromes combining with the inevitable gloomy Polish weather and communist-era deprivations to create a harsh, unforgiving environment.

Thomas Haden Church hits the exact balance of desperation and resignation demanded by the peculiar story.

Duplass and Moss are put to the test to carry the film entirely on their shoulders and unquestionably carry it off... On the other hand, viewers will have widely disparate reactions to spending 90 uninterrupted minutes with these characters.

Rose-tinted as the film’s perspective may be, Ping Pong Summer is still a lingering, entertaining glance back at an era that Americans just can’t seem to get enough of, whether in music or movies.