An eye-opener about what it's like to live with a variety of mental illnesses, including obsessive-compulsive disorder -- and, however tenuously, to recover from them.

Instantly proves itself an invaluable historical document. Shot verite-style with no narration, soundtrack or other embellishments, Tahrir: Liberation Square simply depicts the events of late January and early February 2011 with a vital immediacy.

If viewers have any remaining doubts as to whether or not the dams are a good idea, the gorgeous shots of the threatened landscapes are bound to erase them.

The film has a winning combination for all sorts of platforms as the story is highly intriguing and the music speaks, or rather sings, for itself.

Never less than watchable and loaded with trademark negativity so extreme it's sometimes funny, the new film is nonetheless saddled with a protagonist so narrowly and unlikably presented that, in the end, he doesn't seem worth the time devoted to him.

Aubrey Plaza proves she can carry a film with this multiplex-friendly comedy about time travel.

The saving grace to the utter predictability in Christina Mengert and Joseph Muszynski's screenplay is reasonably personable characters and spirited acting by director Bruce Beresford's cast.

Convincing in its depiction of late-20s romantic anxiety (if not of that age bracket's real estate realities), it is broadly appealing without bowing too deeply to formula.

A flavorless literary adaptation sunk by a lead actor, screenwriter and co-directors that are all out of their depth.

Much like the recent, similarly themed "Life in a Day," the results are more admirable than enlightening or even entertaining.

The proceedings have a certain haunted quality, thanks to the dramatic setting and the stark black-and-white cinematography by Steve Cosens that fully conveys its bleakness.

It's easy to imagine exhibitors running scared from the documentary, but audiences who find it will be rewarded with a serious and provocative film.

An ineffective indie variation on the sort of generic romantic comedy that should be starring Matthew McConaughey and Kate Hudson.

As sequels go, Piranha 3DD has barely enough heft to squeeze out 83 minutes of ho-hum entertainment, although it faithfully delivers plenty of menacing fish and bouncing boobs, as amply advertised.

Its low-rent cast and unappealing key art won't help at the box office, but viewers who stumble across it on cable may be pleasantly, if mildly, surprised.

Predictable from first moment to last, it does at least provide a showcase for lacrosse, a sport heretofore cinematically unexploited.

Battlefield America manages to pack every cliché imaginable into its overstuffed and overlong 106 minutes.

A damning account of institutional dysfunction whose ability to stoke indignation is undercut by its filmmakers' misguided comic antics.

The sort of lumbering epic drama that went out of fashion by the late 1960s, For Greater Glory is mainly notable for shedding light on a little-known historical conflict, namely the Cristero War that took place in 1920s Mexico.

A bold rethinking of a familiar old story and striking design elements are undercut by a draggy midsection and undeveloped characters in Snow White and the Huntsman.

Although Ridley Scott's 3D visual feast is no classic, the oozing alien tentacles hit all the right sci-fi horror notes.

A delightfully stylized caper involving a mute little girl, her pet cat and a cat burglar.

The result is uniquely powerful, putting faces and human consequences to a political dispute that seemingly will never end.

Imagine a teenage lesbian love story directed by David Cronenberg and you'll have some sense of the weirdness of Jack and Diane. Bradley Rust Gray's attempt to weave horror elements into a fairly conventional narrative yields diminishing returns in this overly stylized effort.

Yes, it's a cartoon, but it's conspicuously unmodulated, with the volume set on high and the pacing all but pushed to fast-forward.

The novelty of the setting ultimately proves highly effective. Shot mainly in Eastern European locations that effectively stand in for Prypiat, which is now actually a tourist site, the film is highly convincing in its verisimilitude.

Redlegs marks the promising directorial debut of film critic Brandon Harris.

Corny, calculating and commercial...Their slickly executed culture-clash character piece is stuffed chock full of hard-knock life lessons that owe much more to the conventions of the screen than the tough realities of social deprivation and of the severely handicapped.