In the last 15 minutes of the film, he burns up some of the credibility he established by not pushing extreme situations too far earlier on.

Warm-hearted and entertaining, if more sad than its quirky premise suggests.

More impressionistic than enlightening, Heidi Ewing and Rachel Grady's Detropia introduces us to some interesting citizens of Detroit and gives them a welcome opportunity to speak for themselves, but reveals little we don't already know.

Robot & Frank reminds quirk-hardened veterans that an odd premise and big heart don't have to add up to too-precious awards bait.

An ordinary look at four extraordinary kids, Scott Hamilton Kennedy's Fame High sticks firmly to convention but will please viewers who can't help but want the doc's sympathetic teens to escape the heartbreak most would-be artists face.

Adoptees themselves almost certainly will find Somewhere Between an empowering reminder that tens of thousands of kids have walked this path before.

A must-see for fans of the cult musician and a moving, if sometimes oblique, look at gender-identity issues, it will find many admirers in niche bookings.

The effective documentary makes her attitudes and techniques look unarguably commonsensical, for the most part; while many distributors will shy away from such graphic material, the film may thrive in niche bookings and will benefit from enthusiastic word-of-mouth on video.

Clearly intent on inspiring viewers, the informational film makes a fine sum-up for those who've found the last decade's geopolitics too much to keep track of, but isn't promising in commercial terms.

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 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.

Sadly, this film's POV conceit -- in which all scenes are shot by the characters, whether they have a plausible reason to hold the camera up or not -- quickly becomes as grating as Kelly herself.

A quick pace and always-enjoyable lead Joseph Gordon-Levitt will please moviegoers, even if the picture's ticking-clock approach isn't as invigoratingly pulpy here as in the Koepp-penned "Snake Eyes" and "Panic Room."

Strong, entertaining portrait of a hard-to-pin-down online phenomenon.

Jaw-dropping and surprisingly kind-hearted considering the circumstances.

A history lesson that holds some pleasures even for those who know its material by heart.

Well conceived and unmanipulative, it will play well with auds attuned to its social-justice themes.

One of the things making Goon so enjoyable is its fairy-tale suggestion that all humanity's violent impulses can be exorcized in a Zamboni-groomed ice rink.

As entertaining as any showbiz documentary in recent memory.

Following the template of documentaries bent on scaring viewers silly, Oasis winds up with a segment pointing to glimmers of hope, one of which addresses the marketing challenge of convincing citizens that recycled waste water is safe for drinking.

Entertaining and comprehensive in its account of the man's career.

Alternates languidly between wistful nostalgia and a more clear-eyed assessment of its protagonist's choices.

The premise, and the hijinks that follow, are about as outrageous as anything in today's crop of raunchy comedies. But Nørgaard offers them with a much drier wit than Hollywood typically delivers.

Carol Morley's sadly fascinating Dreams of a Life, which plays like a more artful cousin to TV's true-crime documentaries, slowly assembles a portrait of Vincent, unfolding in a way that should earn fans in its niche theatrical run.

Nicholas Stoller and Jason Segel's latest collaboration offers a more relatable rom-com scenario while generating laughs that should still satisfy "Forgetting Sarah Marshall" fans.

Centurion delivers some large-scale action but plays almost like a Roman-era Western in its depiction of a few soldiers trying to get home alive after the slaughter of their comrades.

A dispiriting horror cheapie whose monsters-in-the-projects premise plays out like an anti-welfare parable.

The Source does hold enough anthropological value to please some audiences. Despite lacking the recognition factor and lurid tragedy of a phenomenon like Jonestown, the story should attract viewers on the small screen.