What I can say is if you're flesh and blood, and have ever suffered a substantial loss, you will be moved by Another Earth. And also renewed.

Visually sumptuous and with a real literary beauty in both its narrative structure and dialogue.

Winter's Bone so far past any notion of formula or precedent that comparison is a futile exercise. This film is a thing all its own.

Seek this one out though, because it's too unique and too defiantly strange to survive for long in today's Darwinian and consumerist exhibition environment.

The Tillman Story illustrates the amazing lengths the Pentagon went to in order to hide the details of that killing.

Director David Mackenzie's quietly accomplished film straddles the arthouse world and cult movies with a unique poetic vision.

Red Hook Summer begins as a gentle character comedy and then erupts into a sudden reversal that is possibly the most powerful and disturbing sequence Lee has ever created. It's a film that makes you laugh, weep, rage and gasp, and, love it or hate it, you will definitely talk about it afterward.

The emotional journey is articulated with so much nuance, and such a vigorous belief in human possibility, that everything The Surrogate touches becomes its own, and is made new.

If it is possible to watch this work as a movie rather than using it as a referendum on its maker’s guilt or innocence, the audience that craves mature, sophisticated and grown-up entertainment will find much to admire here.

It’s a marvelous document of a still vital musician whose unbending indifference to pop fashion has proven him more creatively durable than any other figure from the golden ’60s moment that gave birth to his career.

Using clips from home movies, newsreels and public access TV, Davis does a heroic job of bringing the edgy and diffuse mixed-media New York art scene of the '80s back to life.

Bhutto's story is an epic one, and Hernandez and O'Hara prove up to the task.

An auspicious, controlled and altogether droll debut film that resembles Wes Anderson's "Rushmore" without being derived from it.

Trachinger clearly has the wit and the talent to do thought-provoking and challenging work. All she needs is a producer with similar aspirations, and she'll be well on her way toward fully achieving the promise on display here.

What makes this movie truly special is that the source of Buck's uncanny gift is actually an acute childhood sorrow.

Whether Rossi's cautious optimism about the future of a legendary but troubled journalistic institution is justifiable is a story yet to be written, but Page One assures us that if the paper goes down, it will go down swinging.

July has mounted a surrealist fable about the delicate balance between relationships and the inner monologue inside each lover, with its incessant demands and individual needs. Unevenness is an aesthetic here - not so much a flaw as a conscious choice.

The Invisible War is that rare, issues-driven documentary that is so powerful it's apt to change minds.

Greenfield's fly on the wall view of obscene wealth punctured like a toy balloon is as current as a blog or a headline.

The audience for this movie will have to be an adventurous one, and even then a substantial portion will be outraged by what they see.

It seems odd to call a detailed portrait of toxic romance lovely, but Keep the Lights On truly is.

Benicio Del Toro looks even more like Lon Chaney Sr. than Chaney Jr. did, and he’s a far better actor than the previous Wolf Man.

Far from a perfect movie, but there are moments when it comes about as close to catching the visceral kick of the pre-iPod rock experience as any film I've ever seen.

Holy Rollers is mostly a marker being put down by some talents to watch, especially Eisenberg, who is greater than fans of "Zombieland" could have imagined.

First time documentarian Angela Ismailos has interviewed ten noteworthy international directors about their art, and then cut them together by skipping back and forth between their voices like an iPod in shuffle mode.

The soul of the movie is Mia Wasikowska, a radiant young actress who captures with quiet precision the quandary of a bookish "good girl" suddenly roused to wider personal and experiential possibilities, and to their potential cost.

The kind of grim, character-based movie that needs a strong performer to anchor it. Director Derek Cianfrance has been fortunate enough to land two: Michelle Williams and Ryan Gosling.

The script is intermittently literate and frequently funny, the young cast (headed by Radnor) is highly appealing.