Smart in spite of its irreverence, "Future Folk" is the weirdest, most enjoyable fusion of genres you'll see this year.

Cold-blooded killers rarely look this pathetic, which testifies to the impressive balance of Skarsgård's amusingly low-key performance.

Helms plays angelic insurance agent Tim Lippe with gentle nobility and hilarious naivete.

Political only by implication, Zero Bridge works in a larger sense as a story of universal longing.

Eventually, Soo-hyun's relentless pursuit-and-release approach outlives the director's skill and the premise starts to feel redundant.

Black Death embraces its horror roots with ample bloodshed, at which point the silly costumes and anachronistic dialogue no longer seem so absurd.

Dupieux's utterly zany slice of narrative subversion transcends that singularly goofy premise to create one of the more bizarre experiments with genre in quite some time.

The resulting adrenaline-packed vehicle delivers a multi-directional sugar rush. It moves so quickly that the bells and whistles blur together.

At its core, A Screaming Man emphasizes the strength of family bonds. It's a sad, moving portrait that has nothing to do with its chaotic setting.

At its core, The Double Hour is a classic noir story of deception.

The climax is a little too clever and far-fetched-an unnecessarily neat finale for a movie that works fine when dealing in broad strokes, some of which are nothing short of masterful.

Loaded to the gills with thrill-inducing mayhem, Hobo with a Shotgun feels almost tribal in its commitment to violence.

Before its spell unravels with overdone theatricality and on-the-nose flashbacks, Caterpillar succeeds as a kind of representational horror movie.

Where "Bridesmaids" has plenty of solid gags, it's not much to look at; Submarine always has something impressive to watch even when its plot is on autopilot.

The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.

Unlike recent activist documentaries about animal cruelty like "The Cove," Leeman's narrative doesn't feature any real villains. Balding's bond with Flora leaves him in a perpetual state of uncertainty about which possible new home for his elephant would provide the safest habitat.

Creepy implications keep Super 8 engaging, but the cast makes it click.

Buck Brannaman, the subject of Cindy Meehl's engaging documentary profile Buck, has a warm presence and knows how to tame horses better than anyone else.

The movie works best when probing the nature of human interactions with Nim: He appears to form a close friendship with the stoner psych major Bob Ingersoll, not only foraging for food with him but also sharing joints.

Showing the uneasiness of a first-time documentarian, Rapaport has a difficult time exploring the drama. That has extended beyond the movie itself and into a long-running media dispute with Q-Tip, who has refused to plug the movie.

Progressing with a coldly observational pace, Rapt often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.

The result is not a major work, but still a wildly funny portrait that succeeds at inducing the incredulity Morris always seeks out.

As the portrait of a relationship meltdown involving two eccentric creative types prone to self-doubt, July's sophomore feature bears a strong resemblance to husband Mike Mills's upcoming "Beginners," although July's version of the story has a more experimental edge.

Santana was cast prior to making her gender transition and had never acted before. Her personal experience brings such legitimacy that she would probably succeed in the role even if she sucked at line reading. Fortunately, she doesn't.

Despite its meandering plot, Bellflower presents its doom-laden vision as an astonishingly distinctive state of mind, arguing that the end of one self-made world always marks the start of a new one.

For everything that Mozart's Sister imagines, it leaves much more up to imagination.