The film does not stab as deeply in laying bare the schizoid moral hypocrisy of the perpetrators of the Indonesian genocide as its peerless predecessor, but instead offers an extraordinarily poignant, desperately upsetting meditation on the legacy of those killings, and on the bravery required to seek any kind of truth about them.

It’s borderline miraculous.

Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.

While it features characters making unrelatable decisions, this 77-minute film is nonetheless compelling and beautifully constructed.

Gibney never quite finds Fela, and the quest isn’t always remarkable either, but such is the spirited brio of the seminal subject that some of his dynamic essence still shines through.

For a first time feature outing, Coldwater is a fine effort from Grashaw, and the setting feels fresh and new. It's an original take on a coming of age, young masculinity tale, but ultimately, it doesn't quite live up to all of its potential.

As far as the spy genre goes, Pierce Brosnan’s The November Man is more filler than thriller.

It's a remarkably gorgeous piece of work.

Moretz is great here, able to rise above the voiceover and dialogue she’s given. And thank goodness, because she's in almost every frame.

While the story lags and suffers in its attempt to adapt such a complicated internal narrative and personal struggle, the Smith brothers have created a truly beautiful and unique film that deserves to be seen; a creative accomplishment not only of filmmaking but of capturing this world.

If you’re not looking for reinvention and loved the first "Sin City," then you'll probably love this one too. It's a gorgeous-to-look-at, brain-splattered case of "more of the same."

In the new documentary To Be Takei, it becomes clear that Takei is a man who defies expectations and subverts stereotypes at virtually every turn. It’s just a shame the movie wasn’t as progressive as its subject.

The theories in Level Five simultaneously thrive in realms of computer science, ethnography, and cognitive psychology, while the picture remains cloaked by the emotional weight of a historical tragedy that marked an entire nation.

Metro Manila is a horror story in its own unflinching way.

It’s an ambitious and strong first start for Macy’s filmmaking career as he’s clearly taken a note or two from some of the great filmmakers he’s worked for. Don’t let the title of this film fool you—Rudderless is solid.

“No No” is a jazzy, joyful exploration of a man that, if he wasn’t able to actually change the system, was at least happy with giving it the middle finger.

Overstuffed yet trite and empty, Fort McCoy attempts to mix heavy drama, slapstick comedy and romance all in the wrappings of a coming of age tale set in the summer of 1944, but flounders on all fronts, resulting in a picture that offers a rather naive and simplistic view of the murky territory between good and evil.

So the story is relentlessly rudimentary and it’s directed in an expected, uncomplicated, formulaic manner.

There have been some reports that this is the last entry in the series, but it feels like the franchise is (finally) just getting started. "The Expendables 4" anyone?

By the time the curtains draw to a bittersweet close, you’ll walk out feeling rejuvenated, satisfied, well replenished in humor and culture, and already planning your own trip to Italy.

Let's Be Cops is a fine example of what happens when filmmakers rely too heavily on the potential chemistry of the cast, rather than giving actors something decent on the page to work with.

Even within the spinning cylinder of mediocrity that is Into The Storm, there are some minor pleasures to be had. Those are mostly found in Walsh, who is probably best known for comedic supporting turns, but makes the most with what is nearly a leading man part here.

It’s a finely tuned and tenderly detailed love story of two people told on a cosmic scale.

It is very much a first film, albeit one of rare ambition, and there's every reason to think that Benson will nail it next time around. The film's absolutely worth watching for the performances alone... But in and of itself, the "Them" version of The Disappearance Of Eleanor Rigby doesn't quite add up to the sum of its parts.

As the moving, sad, riotously humorous documentary The Dog explains, the film only captured traces of Wojtowicz’s personality, and only told bits of his story.

Always thoroughly pleasant, and that's entirely due to the cast, who all turn in breezy performances.

Much of the credit must go towards the makeup crew. It's a Fangoria funhouse up in here: Cabin Fever: Patient Zero has some of the most disturbing, disgusting gore effects of all-time. This is a movie made by people who have studied some of the worst injuries known to man.

This is advertisement masquerading as a story, pretending to be a movie, but at the very least, it’s for a good cause.