A rare film dealing with Christian evangelism in a realistic way that neither mocks nor proselytizes, New Jerusalem quietly observes as a man tries to comfort his troubled best friend by bringing him to Jesus.

A quietly marvelous travelogue condensing months' worth of observation into a single sleepless night, Bill and Turner Ross's Tchoupitoulas follows their widely praised "45365."

A sustained balancing act between dry upper-crust cynicism and pent-up passions, Donald Rice's Cheerful Weather for the Wedding maintains its uneasy stasis long enough to frustrate some romance-hungry viewers while tantalizing those for whom withheld pleasure is the whole point.

Becker is now completely paralyzed, unable even to speak. But Vile keeps him almost entirely offscreen until the last thirty minutes, preferring to introduce him as he once was: Uncommonly positive and single-minded in his obsession with the electric guitar.

Self-contained enough for theatrical audiences new to the series, it will play best with those who've come to care for these Brits over time.

Its account of the week beginning January 25 feels like a solid, layman-friendly addition to the West's understanding of this chunk of history.

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

Despite the familiarity of this setup, Way Back is a charmer, putting refreshingly little emphasis on Duncan's romantic needs and allowing family melodrama to erupt and simmer down without pat resolution.

When rehearsals finally give way to full, unconventional production numbers, it's hard to imagine any way Hunky Dory could get much better.

A lovable underachiever unwittingly spawns his own village in Starbuck, Ken Scott's crowd-pleasing comedy exploring various meanings of fatherhood in the modern age.

A gore-for-broke affair that strips the flesh off Sam Raimi's cult-beloved comic-horror franchise and exposes the demons at its core.

If the premise isn't as attention-grabbing as Rubber's was, the execution should help build the filmmaker's following.

What might have been annoyingly solipsistic proves mostly charming and poignant instead, largely thanks to Nance's cinematic ingenuity, but also because of his ability to both probe his feelings and hold them at a distance.

Hess gets her romance just grounded enough to handle the comic extremes supplied by the supporting cast.

[A] sweet, semi-romantic road trip.

Viewers will suspect from early on that things aren't as straightforward as they appear, and Clark's screenplay addresses those suspicions only to the extent it must to justify its characters' behavior.

The ironies of Plimpton's life are handled delicately, made just obvious enough for viewers to mull themselves.

A feel-good flick about a serial killer who just wants what's best for her daughter. Broad and not too spicy, the London-set Indian rom-com is a crowd-pleaser.

Ruffalo gives voice to the film's unironic point of view.

Too dark for a very broad audience, it will flummox some viewers drawn by its cast but will strike others with its more-than-prickly approach and standoffish humor.

For all her desk-stashed booze and inappropriately tight skirts, the movie offers Diaz a pretty bland badness.

Lightweight but likeably uncynical.

The wild card in all this remains Seann William Scott's Steve Stifler, the rampaging id whose indignation at his peers' maturity provides most of the film's real laughs.

Twisty enough to please many arthouse patrons, though some will be rolling their eyes by the end.

Convincing in its depiction of late-20s romantic anxiety (if not of that age bracket's real estate realities), it is broadly appealing without bowing too deeply to formula.

Matthew Akers' film is a personally revealing look at an artist most famous for maintaining stone-faced silence for three months.

Modest but revealing documentary.

Falling somewhere between the X Games and Jackass on the Knievel Scale of Senseless Self-Endangerment, the crew known as Nitro Circus offers more physical and technical prowess than Johnny Knoxville's crew without stooping to anything so disciplined it might accidentally be called a sport.