A fascinating look at the juggling act of a man who is succeeding in public, but still trying to find the answers in private.

Starlet is an interesting effort from indie filmmaker Sean Baker (this is his fourth feature), and signals the arrival of Dree Hemingway as one to watch.

Price Check never successfully makes the shift into a higher-stakes scenario, and the chief culprit is a detour to Los Angeles. The tension between Susan and Pete suddenly lapses into a far more conventional direction.

It's fascinating, warm and immensely watchable stuff, and fans of both Jackson and pop music in general will surely eat the film up.

What Addicted To Fame lacks in nuance, it makes up for in insight and honesty.

As prophetic as it is provocative, exploring dysfunction, in a recognizable but no less satisfying way.

If there's one thing that wounds On the Road, it's that the film is full of things -- having sex, doing drugs, being free -- that are far more enjoyably experienced by one's self as opposed to watching other people enjoy them on screen.

Each scene is a brisk vignette of deadpan reversal, often involving a running theme of miscommunication.

The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne).

The film is undeniably moving at times, and there are moments of metatextual elegance that feel as though they tremble on the brink of genuine insight.

Richard Linklater's Before Midnight isn't the most digestible picture, but its challenging, funny, painful, very present and alive depiction of relationships at 40 is so honest and real that we wouldn't have it any other way.

A noir-tinged, noose-tightening ordeal [that] confirms Antonio Campos, if not the entire Borderline Films outfit, as a filmmaker/team to be reckoned with.

Midnight movie programmers of the future will undoubtedly give it a long life years after it’s gone from first-run theaters.

The End of Love is hardly a work of revelation. At the same time, it's surprisingly well-executed, nicely performed and manages to combine a warm and gentle sense of the rhythms of life with a cold and bright-eyed look at the world and its lead's flaws and character.

Comedy is hard all on its own, but comedy that resonates is a rare thing indeed. So it’s admirable that Rash and Faxon are continuing to head down that path they started with “The Descendants,” even if this film isn’t quite as refined.

The Spectacular Now is wise beyond its years, charismatic, measured and authentic in its depiction of the pains, confusions and insecurities of the teenage experience, and while its deliberate rhythm may prove to be a harder sell among the teen crowd, it’s a valuable and honest film that’s worth the investment.

Powerful, engaging and, by the finale, moving. And in the end, At Any Price is certainly one of the most impressive reactions to the recent economic crisis (because that’s exactly what it is) that cinema has produced so far.

It’s not like “The Artist” was gritty, but Populaire is so cotton-candy breezy it makes the Best Picture-winner look like “The Panic in Needle Park.”

The end result provides a range of quality, from the inspired and creative to the lazy and insipid, but one that horror fans will certainly devour.

If Kiss of the Damned has one thing, it's an identifiable groove, one that is sustained and very, very infectious.

There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.

While it hardly reinvents the genre, it’s smart, sharp entertainment that meets expectations dead on, and provides a nifty little story told with just enough spark to make the familiar feel fresh.

Barrett and Wingard are clever filmmakers, but unlike many modern day horror directors, their cleverness never gets in the way. There's an earnestness to the entertainment in You're Next that is truly admirable, and at the end of the day it's a super enjoyable way to spend an hour and a half.

There is little more to Kon-Tiki than a fun, handsomely-mounted, old-style adventure story. And as impressive a feat as that is to achieve, especially outside of Hollywood, which kind of specialises in this sort of thing, those looking for something with more depth from this category may come away a little disappointed.

Confidently constructed, and aided by an assured focus, Free Angela & All Political Prisoners is a solid tribute a woman who was one of many vital pieces of the civil rights movement, and an insightful study of a time when the American identity -- both politically and socially -- was being drastically reshaped.

One of the most satisfying things about Crystal Fairy is that even though the lead character prefers to keep an ironic distance from things, the film itself is completely sincere. It’s about being good to people even when they’re kind of ridiculous.

With a conclusion that arrives as an open-ended gut punch, you're not just left lingering with unanswered questions, but the sensation that James Marsh has delivered something truly special.

Unwieldy and unkempt but both moving and dizzying to experience, Laurence Anyways is Dolan's grandest statement yet.