The Matchmaker is at heart an unexpectedly complex film about love, but also an examination of Israel in flux, a country with one foot in the past and another in the future – a weight that may never fully vacate Israeli shoulders.

Moving, rousing, funny and at times even haunting.

Beautiful, yet dark and moving, unsparing, but told with a sympathetic eye, Ginger & Rosa is sometimes relentless in its examination of emotional pain.

It's the picture's lack of focus that eventually diminishes whatever little The Bling Ring has to say.

S-VHS is a whole lot of fun.

Compliance is as much a meta-textual gauntlet as it is a movie; its subject matter not only deserves, but demands to be discussed and argued about, rather than being simply accepted at face value.

A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight.

Credit Swanberg who served as both director and editor for making a film that feels loose without ever being ponderous or phony.

It deserves to be shown to teenagers, not necessarily as a warning, but at least as an eye-opener: This is how it works, kids. And it ain't pretty.

While the premise certainly makes it stand out from the sea of dysfunctional family dramas, a cute idea alone doesn't quite cut it. In the end it's just not funny enough to be completely entertaining and the sentiment feels tacked on.

Post Tenebras Lux is certainly unique, but Reygadas is often intensely more interested in provoking his audience than actually fleshing out his heady ideas.

Ultimately, while 'Escape Fire' proposes numerous options for changing the system-- getting Medicare to cover healthy lifestyle counseling programs, incentivizing doctors to spend time with patients, and patients to empower their own health-- the one that is most poignant is that people should spend the time to take care of each other.

The trio (Hoffman/Keener/Walken) give top shelf performances as we've always come to expect from them in A Late Quartet. But it's just too bad that they're in service of Yaron Zilberman's film, which takes the unique focus of a string quartet in Manhattan, and puts it in the middle of a standard and unsatisfying soap opera, that spins off into one subplot too many.

Touching and brimming with the energy, enthusiasm and tides of teenage love and life, 'Perks' could very well be the next classic of the genre.

Sightseers homicidal holiday isn't just a pitch-black comedy made with skill, will and brains; it's also another demonstration that Wheatley is, to use an all-too-appropriate phrase, going places.

It's enjoyable and toe-tapping for what it is, but it's also extremely lightweight stuff.

Manages to be both overwrought and strangely lacking in drama, staggering under the deadening weight of an uninvolving central character. It is a shame, because many of the elements were in place for something much more compelling.

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.

Pablo Trapero’s White Elephant is a smartly acted, beautifully scored, often bracingly directed film of good intentions and big ambition. Yet it can only be called a modest success, and, in light of how strong some of its individual elements are, even a slight disappointment.

Ruby Sparks hits that sweet emotional spot much in the same way "Eternal Sunshine of the Spotless Mind" does. While you are at once charmed by the whimsy and romance, there's still a gut punch of emotional rawness just waiting to be delivered.

Some good laughs and a passable air of bonhomie do nothing to cover up the fact that The Angels’ Share is totally lightweight and distractingly underdone.

Somewhat spastic and overcooked, Seven Psychopaths might have a few too many.

Just as the film is about to deliver it's package, it sends the viewer an I.O.U. instead, botching two-thirds of what may be Koepp's most entertaining film as a director.

Venus and Serena wins points for sharing an intimate, not-always-flattering view of the sisters that isn’t PR-friendly.

The script finishes up exactly where you think it will, but along the way, there are enough surprises and perfectly delivered lines to make it a blast.

A wonderfully eccentric examination of unlikely friendships that illuminates the absurd and lovely corners of life, Prince Avalanche is a deeply enjoyable, wondrous delight.

Levinson is interested in humanity, in the small moments that make us who we are, and it's these moments that make The Bay so chilling.

Though not a poor effort per se -- David Chase's Not Fade Away does authentically captures the heart and soul of the music of the era and the intoxicating/naive dream of making it big -- the picture isn't exactly a remarkable one either.