Though it's a decidedly arty piece, Leviathan, named after the biblical sea creature, also lacks much in the way of traditional beauty or splendor. However, the immersive shots of those swooping and circling sea gulls are quite something.

Vividly captures a year in the life of eastside Detroit's Engine Company 50.

Thanks to the residual love and attraction between the pair, this cocktail-fueled reunion never descends into a "Virginia Woolf"-like grudge match but, rather, remains an equitable, tender, sometimes surprising game of hard truth-telling.

With its startling mix of 16-millimeter-shot, handmade animation styles using stop-motion, sketches, collages and models, along with uncensored characters often resembling cadaverous marionettes, this twisted look at life in a faded Appalachian town is one decidedly idiosyncratic ride.

What you see is pretty much what you get. Fortunately, what we see is often vivid and lovely.

A haunting, immersive portrait of a romance between two men, one that's marked - and marred - by both drug dependency and emotional codependency. Not unlike last year's gay-themed drama, "Weekend," it proves an important and mature piece of business.

Writer-director Jay Bulger combines warts-heavy interview footage of Baker with vivid archival bits, concert clips, jaunty animation and chats with various musical greats to paint a lively portrait of yet another brilliant but wildly self-destructive artist.

Though much of the movie was shot in secret to protect the filmmakers, Bailey and Thompson managed to create a remarkably vivid portrait of a land and its people, while bringing us two unforgettable heroes in Campbell and Freeth.

This expertly constructed film follows the curious and tragic life of the troubled chess icon as he went from child prodigy to global legend to paranoid recluse.

While the movie's second half feels more consequential - and more impressively action-packed - than its first part, it also loses some of its initial charm and quirk via a protracted, often dizzying descent into a kind of booty-centric game of hot potato.

Graceland is a tense, twisty cinematic artichoke brimming with moral complexity and intriguing shades of gray.

It's predictable, painless, occasionally amusing fluff perked up by a clever visual interplay with the book text and John Cleese's avuncular narration.

Although Gruber's personal life and latter accomplishments are mostly addressed via a few closing sentences, "Ahead" remains a fleet and fitting tribute.

It's exhausting, exhilarating, riveting stuff that fans of high-octane filmmaking should not miss.

Fortunately, Pajot and Swirsky don't overdo the minutiae (this is a movie even non-gamers can enjoy), offering just enough insight into the creative process to feel enlightening.

Ultimately, more than 800 demonstrators died amid countless displays of bravery and commitment. Uprising is a vital and valuable tribute to these courageous men and women - and to love of country.

[An] amusing, freewheeling documentary.

As Madeleine Sackler's absorbing, often tender documentary The Lottery shows, when it comes to the world of charter education, no seemingly good deed may go unpunished -- or at least undercut.

Recently deceased master filmmaker Claude Chabrol's 50th and final feature, Inspector Bellamy, proves a sadly bland footnote to an illustrious and influential career.

Although not exactly even-handed, the movie proves a deft look at a reluctant crusader and how financial sway and political override can so effectively trump the power of the average citizen.

It's the offbeat love story at the heart of Liebling's resurrection that provides the film's most powerful - and touching - surprise.

Only the Young rarely coalesces into anything more meaningful than a casual collection of moments. Maybe that's the point.

As one observer here aptly - and non-hyperbolically - sums it up, White is "a founding father of the current state of pop art."

The doc flags toward the end, but it remains an absorbing snapshot of a daring time.

Director Scott Thurman presents a largely even-handed recounting, wisely letting folks - and events - speak for themselves. It's riveting stuff.

Writer-director and co-star Taika Waititi ("Eagle vs Shark") never builds much momentum for his largely uneventful if sometimes inventive story.

The ambitious Peepli Live manages to mine substantial dark humor from this tragic situation while offering pointed - and sometimes poignant - social commentary in the process.

The result is a kind of quiet Scandinavian cousin (OK, twice removed) to "Home Alone," in which patient viewers will find sporadic rewards.

Marquette, aided by Frank Langella's precise narration, has crafted an engrossing and disturbing tribute.

This ambitious first feature film about the period made entirely by Rwandans (shot in a remarkable 16 days), while hardly an all-inclusive look at this complex conflict, paints a heartfelt, fairly restrained picture of a nation under siege.

As for the so-called "food compositions" seen here, like the film itself, they're more impressionistic and artistic than enticing. For a far more satisfying cinematic meal, check out the similarly themed "Jiro Dreams of Sushi."

The filmmakers vividly illustrate the power and depth of the long-spiraling problem of "food insecurity" by immersing us in the hardscrabble lives of a cross section of our nation's poor.

Winston Churchill: Walking With Destiny nonetheless serves as an informative look back at one of the 20th century's most celebrated figures. (Nov 4, 2010)

The wildlife documentary One Life is a visually gorgeous, at times astonishing screen experience.

It's not all doom and gloom. This crisply shot picture also offers stirring views of these industrious little creatures, their complex habitats and the rich amber goodness they create. Some jaunty animation enlivens things as well.

It's all presented with equal parts humor and sensitivity, though Buford doesn't much delve into the potential landmines here - racism, classism, exploitation - allowing the power of assimilation and opportunity to carry the day.

Campbell Scott's strong narration (well-written by Allentuck) and fun vintage musical selections effectively round out this provocative portrait.

Blethyn brings tremendous empathy to the introspective, determined Elisabeth, while the tall, gaunt and dreadlocked Ousmane fleshes out his less-dimensional role with a haunting sadness that speaks volumes.

A terrifically entertaining, smartly constructed trip down memory lane with one of the American stage's most legendary troupers.

Writer-director Michael Walker keeps a firm grip on his smart material, offering up big laughs, lots of recognizable behavior and, in the end, a wistful glimpse at life's inevitable priorities.

An impressive array of archival news footage, enlightening interviews with activists, politicos, academics and journalists, plus a dispensable Alfred Molina-narrated animated parable, round out this provocative, if at times overly ambitious effort.

Although it runs just a fleet 40 minutes, the film proves a rich and memorable journey.

The film brings us vividly inside the life - and head - of its determined hero, Bud Clayman, as he depicts the process of what he calls "getting normal."

The lovely, heartbreaking Fly Away benefits from superb performances and a gripping story managed with simplicity and grace by writer-producer-director Janet Grillo.

Unfortunately, the film often feels somewhat random and disorganized, with Newnham and Grainger-Monsen never zeroing in on a cohesive narrative structure. Still, the movie's engaging subjects (including several parents) and valuable themes largely carry the day.

A stirring snapshot of America from 1963 to 1968 and the many rock 'n' roll thrills, cultural and political watersheds, and whirling emotions that erupted in between. It's also deviously smart and darkly funny.

It's the candid moments of joy and accomplishment -- Welcker finding out she's an Intel contest finalist, Khan learning he's been accepted to Yale, high school valedictorian Cisneros thanking her devoted parents in her graduation speech -- that really make this one soar.

Kazemy and Boosheri are excellent, and Soheil Parsa and Nasrin Pakkho are also fine as Atefeh's doting, liberal parents. And if Keshavarz is less successful managing the film's sometimes choppy narrative, she is clearly willing to take risks on all fronts. More power to her.

[It's] too bad Cindy Kleine, the documentary's producer-director-narrator — and Gregory's wife — didn't better organize this rangy survey of the eclectic actor, theater director, artist and raconteur.

Best appreciated for its sweet eccentricities (beginning with reggae lover Jack's would-be dreadlocks), optimistic outlook and authentic New York vibe, as much as for its commitment to being exactly what it is: an affectionate homage to working-class underdogs trying to carve out their own little corners of happiness.

A revealing, disturbing look at how political and corporate forces have seemingly undermined the freedom and safety of our nation's equine population.

With a two-state solution still elusive, "State 194" may feel a bit like yesterday's news — literally and figuratively. But as an aid to better understanding this vital, complex dispute, the film is definitely worth a look.

Despite its family-friendly trappings, "Cats" is largely serious stuff; deliberately paced, thematically dark and often wistfully told, with enough moments of survival-oriented tension and dread to question its G rating.

The largely engaging class-reunion dramedy 10 Years allows audiences to pretend they went to high school with the likes of Channing Tatum, Justin Long, Rosario Dawson, Anthony Mackie and Kate Mara.

They all share their amazing war stories and life memories with great humility and warmth.

Quirky, creepy and increasingly involving, the Montreal-set thriller Good Neighbors throws a trio of offbeat apartment dwellers together under one shaky roof as a serial killer wreaks havoc around town.

Despite its gorgeous soundtrack, historical sweep and wealth of archival material, (the film) is weakened by sluggish pacing and an overly detailed, increasingly narrow focus.

The warm and charming White Wedding is like "The Hangover" off steroids. It's another get-me-to-the-church-on-time obstacle course but filled with smart social commentary, romantic wisdom, credible complications and memorable characters.

Unfortunately, this well-acted cautionary tale is hampered by a lack of visual finesse and a script in need of a narrative rethink and a dialogue polish.

Though unevenly told and at times too fanciful for its own good, Electrick Children marks an intriguing feature debut for its risk-taking writer-director, Rebecca Thomas.

The various sleights of hand are impressive even if we're afforded little insight into their actual execution. Still, it's fun stuff.

It's impossible not to root for these driven, high-spirited participants - and for the longevity of this invaluable program.

Loyalties are tested, futures are reconsidered and the body count climbs in the effective action import New World.

Despite the film's unvarnished emotionality and even-handed messaging, Courtney never seems to have found an appropriate focus, resulting in a work that's less urgent and involving than its intense subject matter might have dictated.

The pervasive historical reenactments and voiceovers, however, while clearly well-intended, often turn this otherwise vital film into an uneasy hybrid of authenticity and artifice.

It's a fun, nostalgic, informative journey. Aided by vivid archival footage and photos, the movie charts the evolution of the song through the Holocaust, the birth of Israel and the modern Jewish Diaspora.

This compelling psychological horror-thriller contains a tremendous amount of heart. That would be largely thanks to a moving and deeply sensitive lead performance by Jim Sturgess

Add one more extraordinary survival tale to the canon of Holocaust documentaries: No Place on Earth.

By turns sweet and tart, airy and rich and, above all, a thoroughly irresistible confection.

To his credit, writer-director Nathan Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.

An exceptionally intimate, human-scaled picture. It's also quite a special piece of work.

It all adds up to create a dicey morality tale that's as improbable as it is strangely believable.

This underdeveloped, lackluster glance at brotherhood practically demands a response of "Is that all there is?" at its 70-minute fadeout.

The result is an unhurried, visually compelling look at a man and his music - as well as of a bygone America filled with shuttered downtowns and the ghosts of such late musicians as Elvis Presley and blues pioneer Robert Johnson.

Unfortunately, Berman skips past the darker implications of Hefner's sexual universe and omits discussion of how the periodical business -- and access to erotic imagery -- has changed in the Internet age. Still, the movie remains an involving look at an American icon as well as an adept snapshot of our national zeitgeist from the McCarthy era through the Reagan years.

With its gorgeous big-sky vistas, stirring shots of the majestic mustangs and intimate bits between trainers and trainees, Wild Horse proves a warm and memorable ride.

Antiviral is often fascinating to watch. If Cronenberg's not yet a dead ringer for his iconic dad, he's taken an intriguing first step.

I Am Not a Hipster is the kind of lovingly crafted, deeply affecting drama that gives small indie films a good name. It's also a terrific showcase for first-time feature writer-director Destin Daniel Cretton and his superb leading man, Dominic Bogart.

You don't have to be a "Star Wars" nut to enjoy this fast-paced film, though it's sure to resonate most with those whose childhoods - and beyond - were shaped by the 1977 phenomenon.

A lovely performance by Ethiopian supermodel-actress Liya Kebede as supermodel-activist Waris Dirie works wonders to elevate this uneven, occasionally awkward but often absorbing film.

This engaging, nicely observed look at a 30ish L.A. couple who allow each other a one-night stand to help reheat their 7-year-old marital bed moves quickly and simply.

Despite his cogent finger-pointing, nifty graphs and succinct highlighting of recent climate change history, longtime followers of the hyper-partisan topic may not find much terribly new or revealing here.

It's an enjoyable snapshot that effectively explores the colliding - often complicit - worlds of fame, entertainment publicity, the public's infatuation with gossip and the dogged paparazzi at the epicenter of it all.

A forgettable title and a barely there theatrical release don't do justice to the captivating and nostalgic coming-of-age dramedy That's What I Am.

Kudos to writer-director Antonino D'Ambrosio for taking such an eclectic and disparate number of aims, thoughts, subjects and mediums and creating the smart and inspiring - and uniquely whole -documentary that is Let Fury Have the Hour.

Given the subjectively interpretive nature of scripture and ancient religious history, which informs most of the Christian-centric debate here, the result is an often dense, contradictory discourse.

The movie's intended audience will likely be satisfied by its parade of gory mayhem, cheap thrills and groan-worthy dark humor. Everyone else: You're on your own.

As for the dancing itself, it's nothing short of dazzling.

Fisher's separate visit with several still-traumatized American World War II vets who helped liberate the death camps is also stirring - and horrifying.

That's not to say Heleno, with its magnetic energy, sensual re-creation of 1940s and '50s Brazil and bold storytelling lacks punch; the movie is nothing if not watchable. But, by presenting more surface than depth to De Freitas' womanizing, arrogance and volatility (an implied closeness to his unseen mother is about as far as the film digs), it largely feels like an arm's length effort.

A Fierce Green Fire: The Battle for a Living Planet, adapted from the book by Philip Shabecoff, proves a worthy reminder of how much has been done to help heal our planet's ecological woes as well as how much remains to be achieved.

There are no great emotional revelations about the fearless, free-spirited athletes profiled in the film, but these tanned-and-toned folks' deep love of surfing and mostly cheerful demeanors prove enjoyably infectious.

The film is an architecture lover's dream.

Well-meaning and, in the end, sweetly redemptive, Sassy Pants would have worn better with more depth, energy and, yes, sass.

What the film lacks in biographical depth, it makes up for with stirring visuals (including effective bits of split screen, time-lapse photography and animation), a vibrant score and an infectious, in-the-moment spirit.

Despite the familiar setup, this is no "Same Time, Next Year," what with its hot-sheets trysts, full-frontal flashes and frank language. But the brief - sometimes very brief - encounters glimpsed here between the film's leads and sole characters (billed only as "Man" and "Woman") are inventive and telling.

Despite its brief running time, the film feels padded by sightseeing footage and a warm but diversionary visit between Ahmed and his Cairo-area relatives. Still, Just Like Us proves an amusing, uniquely unifying effort.

Despite much archival and news footage, along with ample face time from that initiative's most ebullient supporter, Gov. Arnold Schwarzenegger, the contest lacks the kind of inherent drama and tension that could have helped quicken the movie's measured pulse.