Sometimes you just can't fight the funk; as much as you might resist the film's more maudlin scenes, not succumbing to the band's signature tune, "Head Wiggle," is impossible.

A pleasing, often rousing movie for the 99 percent, In Time is not without flaws.

Aided by an excellent ensemble cast, director Xavier Durringer and his co-scripter, Patrick Rotman, don't refrain from showing this truly repellent side of Sarko during his rise from minister of justice in 2002 to the highest elected office.

With a name that not even the PR team at Smokefree America could dream up, Victor DeNoble emerges as the hero of Charles Evans Jr.'s mostly muscular documentary on the 1990s campaign to expose Big Tobacco.

If director James Watkins's second film is about as scary as the haunted house your big cousins made in the basement, Radcliffe, as widowed lawyer Arthur Kipps, at least gives a moving portrayal of grief.

An affectionate look at a self-destructing maniac and his supporters that bluntly reveals Liebling's total abjection without mocking him.

Like the pacing of the novel, the film, even at almost two and a half hours, moves briskly, continuously drawing us in.

Often drolly, coolly morbid, Post Mortem also operates just as effectively in a more nakedly direct register.

When isn't it a good time to show a movie tracing the development of a kind, charismatic yellow Labrador retriever from frolicsome puppy to devoted seeing-eye companion to weary senior?

In trying through incessant narration to make a six-year-old a prolix sage, Zeitlin can't avoid falling into sticky sentimentality.

There are enough unexpected delights, such as repurposing "Video Killed the Radio Star" during a critical moment between Margot and Daniel, to keep us interested in their drawn-out, teasing, tantalizing courtship.

Crucially, the variety of interviewees in Hubbard's doc - men and women of different races and classes - underscores just how diverse ACT UP was in its heyday.

An unadorned, unsentimental portrait of a marriage, Yi Seung-jun's documentary Planet of Snail celebrates the daily life of an exceptionally collaborative couple.

10 Years is an uncommonly magnanimous project, kind not only to its stumbling characters but also to audiences tired of films pruned of unruly emotions.

What's riveting and attention grabbing in Jarecki's recapitulations of failed policy are some of the talking heads he has assembled, including "The Wire" creator David Simon and historian Richard Lawrence Miller.

Bestiaire is, most profoundly, about the dynamics of looking, an exercise in studying gazes that are either unidirectional or, superficially, at least, reciprocated.

Director Sean Baker, co-writing his fourth feature with Chris Bergoch, does some deft balancing of his own: His genuine admiration for these two women extends to their idiosyncrasies, yet they never become fools, whores, saints, or coots.

The film is as simple, straightforward, and elegant as its title.

Real, dramatic tension erupts as the strains placed on the women's relationship surface, offering a candid look at what the stresses of parenthood can do to any couple.

Thankfully, Peddle's film is much more illuminating than a grad school seminar.

Surveillance is the work of a director who has made significant strides in both storytelling and control of the medium, deftly interweaving a grisly thriller, a sicko "Rashômon," a switcheroo, a psychotic love story, an imaginative paean to children, and an inspired resurrection of Julia Ormond.

The principals, especially Ejiofor, rise above the starchiness that often hampers portrayals of recent, monumental history.

The biggest surprise here is Tatum, whose butch reticence has never been put to better use: His saddest farewell isn’t to his lady, but to a man even more uncommunicative than he is.

Writer-director James C. Strouse's The Winning Season respects its misfits (and its audience) by not stripping away their foibles in the service of sports-movie clichés.

Though nothing here is as rousing as "The Pajama Game's" raise-baiting "Seven and a Half Cents," the always-welcome Miranda Richardson steals the film in a small role as Barbara Castle, Labour P.M.

Adults will be thrilled to see Anna Faris as nature documentarian Rachel. Greeting Yogi by speaking in "brown bear," the actress never fails to be seriously goofy.

Usually an enervating process to witness onscreen, Steen's subtle calibrations of self-hatred and raging narcissism exhilarate.

Crayton Robey's documentary on this queer cultural touchstone admirably presents both sides of the divide.