The excitement in The Soft Skin, however, gives way to an intense tragedy that's INFORMED by the thrills.

Reichardt crafts a highly textured narrative that both invokes the mythology of the American frontier and cleverly transcends it.

The cumulative impact of The Arbor is one of claustrophobia; at times, the endlessly downbeat adventures of Dunbar and her offspring grow almost unbearably morose.

The Troll Hunter offers high-caliber entertainment despite a low-budget production.

As with "Shotgun Stories," Nichols assembles a tense portrait of blue-collar life, while deepening his thematic interests and working on a bigger scale. Burrowing into the subconscious of a damaged man, he delivers a modern American epic with extraordinary restraint.

Melancholia hovers in ambiguity with riveting aesthetic prowess.

It's a frantic microcosm of life itself.

The beautiful desolation of Bombay Beach makes it difficult to describe as a documentary. Alma Har'el's directorial debut takes a nonfiction setting and displays its haunting qualities in poetic terms.

Despite the ongoing momentum, Sleepless Night never loses touch with its story.

Ornette isn't just a love letter to the liberty of jazz rhythms; it excels at expressing them.

Most segments have a fair share of cheap scares, but they also delve into the art of the build-up, as if delivering a series of grim jokes with bloody punchlines. Consider it a 21st-century take on "Tales from the Crypt."

Bigelow delivers an acute realization of the mission's execution that's eerily in sync with the way it played in the popular imagination. Visually, the events unfold as a mashup of shadowy movements with flashes of green night vision. It's simultaneously predictable and tense.

The movie's stakes are alternately personal and political, but Petzold's skill truly comes into focus in the tense climax, when those two aims come together with a powerful act of defiance.

Byington excels at turning the edict that time waits for no one into a sensory experience. No matter how sly it gets, Somebody Up There Likes Me still retains that fundamental truth.

Before Midnight is the rare cinematic achievement that implicates alert viewers in its mission to understand the mysteries of intimate connections.

Stories We Tell marks the finest of Polley's filmmaking skills by blending intimacy and intrigue to remarkable effect.

Heinzerling's beautifully shot, painfully intimate look at the aging couple's struggle to survive amid personal and financial strain is both heartbreaking and intricately profound. This is a story about creative desire so strong it hurts.

Suleiman's most poignant moments are largely wordless. Nothing feels more affecting than Suleiman's ubiquitous frozen stare. Although he never utters a sound, his silence speaks volumes about the inability to resolve the social ramifications of Middle Eastern strife.

Although Madsen's survey of warning strategies has an aimless structure prone to repetition, he creates an effective mood that transcends his time-travel gimmick and eventually becomes topical.

It may go without saying that Poetry adopts a lyrical tone, but this forms the crux of its appeal. In this case, the title says it all.

Never indulging in outright scare tactics or loose improvisation, the movie primarily works like an awkward narrative that plays with perspective.

Unable to express the sorrow of Cory's passing or the larger sense of detachment from the world it represents, most of the people in Putty Hill try to remain disaffected. By pestering them with questions, Porterfield gets under their skin - and, in the process, ours as well.

Representing lower-class violence taken to an extreme, the cannibalism cannot be contained by police work. The movie's gradual build to a thrilling, appropriately bloody climax intensifies this disconnect.

Ignore the precise religious context and it stands perfectly well as a restrained look at personal convictions in the face of certain death.

A comedy of remarriage buried in intellectual abstraction and cinephilic obsessions, Certified Copy wanders a bit but never loses focus, with the only certainty being that its gimmick is genuine.

Showcases Jones' ability to provide ample entertainment value with sharply drawn characters in a minimalist setting.

Frammartino keeps the material engaging simply by aiming the camera at his subjects and letting the material organically emerge-rather than enforcing the supernatural element with overstatement.

The visual collage retains a consistent melancholy, resulting in an experience that's both deeply affecting and-since José never actually appears on-camera-utterly detached.