Pina is a beautiful, heartfelt ode and a delicious feast for the eyes, but not an essential work of art on its own terms.

Maintains a funny and sad focus on its single petulant subject.

Produced by Keanu Reeves, this talking heads survey of the transition from shooting on film to digital video is against all odds an imminently watchable overview, and not only because Reeves has decent interview skills.

The climax is a little too clever and far-fetched-an unnecessarily neat finale for a movie that works fine when dealing in broad strokes, some of which are nothing short of masterful.

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

The central appeal of The Trip is that it's only a comedy in bits and pieces. Overall, however, Winterbottom constructs a thoughtful and generally sad portrait of Coogan's persona as a man unsure of his next move.

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.

With its bouncy soundtrack, deadpan humor and good-natured disposition, Finnish director Aki Kaurismaki's Le Havre is an endearing affair.

Nuri Bilge Ceylan's mesmerizing Once Upon a Time in Anatolia plays like "Zodiac" meets "Police, Adjective."

Mills fashions the set-up for an overwrought, thoroughly depressing character study into an oddly charming comedy. It's a midlife crisis gently portrayed with sympathy rather than grief.

Weekend builds into a powerful encapsulation of an identity crisis over the course of three passionate days.

If nothing else, Blancanieves offers an excellent case for revisiting the early days of cinema -- and for recognizing how much has been lost in its absence. While "The Artist" recalled the silent film industry, Blancanieves solely pays tribute to the art.

Greene's patient, understated portrait renders a universal rite of passage in strangely alluring, poetic terms.

Sister may not arrive at a happy ending, but the lack of resolution -- capped off by the powerful last image --completes its journey to a place of rousing emotional clarity.

Whereas "45365" took the form of a scattered collage, with disconnected events and a vast ensemble of characters stitched together to represent a year of activity, Tchoupitalas brings greater clarity to a similarly diffuse canvas by situating it around a trio of innocent observers.

Possibly the best war movie of the year.

Recently released from jail, Ai's full story remains to be told, but Ai Weiwei: Never Sorry competently summarizes his lasting relevance, regardless of what may happen next.

Incredibly heartfelt to a large degree because of its cast.

Upstream Color is routinely confusing but not oppressively so; its final exquisite moments explain little yet still manage to invite you in.

At times, Frances Ha strains from emphasizing the characters' snarkiness and disregarding plot. By routinely going nowhere, however, the movie eventually finds a distinctive voice that carries it through.

A stitched-together combo of outlaw energy and bittersweet romance that gives the impression of Little Rascals in the big city. Like the graffiti art it documents, it's a lovingly handmade affair.

Melancholia hovers in ambiguity with riveting aesthetic prowess.

Slickly made if not particularly stylish, the movie maintains its entertainment value for picking ideal models of American excess.

I Wish embraces blissful ignorance, even celebrating its child characters' naivete.

In each tense moment, Miss Bala has a lot to say in a few words.

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.

Baring all and radiating an affability that defines the movie's tone, Hunt delivers her finest performance since "As Good As It Gets."

Intermittently action-packed and lethargic, the movie dances around formula. By delivering an expressionistic character study with bursts of intensity unlike anything else in his oeuvre and yet stylistically representative of its entirety, Wong practically has it both ways.