Loosies (slang for singly bought or bummed cigarettes - and a nod to Bobby's commitment phobia) proves a largely enjoyable ride.

These profiles are frank, absorbing and heartbreaking, if also a bit inconclusive.

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.

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.

Aided by a nimbly voluble script by Kat Coiro and Ritter, it emerges as an amusing kaleidoscope of contemporary urban angst and romantic aspirations.

A film whose poignancy is hard to deny whatever side of the abortion debate you fall on.

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.

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

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.

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

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

It's simple stuff, but it works.

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

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.

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.

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.

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.

"Addicted" proves a strangely sad yet wildly compelling cautionary tale.

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.

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.

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.

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.

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.

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

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.

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

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.