This time around, the director documents a 2011 Young solo show in Toronto (the musician's birthplace), but in an intentionally fractured way.

It's McConaughey who is the real revelation: All Grim Reaper strut and cutthroat stare, he savors each of Letts's vividly ghoulish lines.

It is the richly evocative performances of Marion (aggressive yet enticing) and Merhar (wearing world-weariness like an aged suit) that cut deepest.

This is a drama about finding one's self-worth; you simply have to see it.

The true value of the film is universal: These kids study the knotty viral science, pressure doctors into taking daring, inventive steps and make their cause a global emblem.

A paranoid police procedural, a perverse parable about the corrupting elements of power, and a candidate for the greatest predated Patriot Act movie ever, Elio Petri's stunning thriller makes no attempt to hide the culprit behind the film's grisly murder.

Defiantly intellectual, complex and true to the shifting winds of real-world governance, Lincoln is not the movie that this election season has earned-but one that a more perfect union can aspire to.

Wang has made a confidently intimate movie that is devastatingly larger-than-life.

Remains a primo example that cinema actually traffics in truthiness 24 frames per second.

An aggressively unpleasant man somehow lands a perfect series of gigs in this rudely funny documentary: first as a pounding rock drummer who revolutionized the field; then as a fearless, rage-filled polo player; and finally as an impatient interviewee.

The details are gripping, presented with respect for an audience's intelligence.

It isn't until the story reaches its fancifully abstract final passages, where cinema displaces music as Douglas's weapon of choice, that Chase's reverie reveals itself as a particularly exceptional exploration of how art ceases being an idle hobby and becomes an obsessive vocation.

There's influential, and then there's this 1953 microbudgeted beauty, one that's made its way into the DNA of everything from cinema vérité to the French New Wave.

The essential thrust here is both knowing and undeniable: No is pitched at the pivot point when the image makers were brazen enough to push ideology to the side. Considering how high the stakes were, it’s amazing they almost didn’t get the gig.

Even this early in his career, Godard knew how to make audiences viscerally experience and contemplate things they might otherwise not have wanted to.

Voyage to Italy is the kind of movie that makes those unhappily in love feel understood. And even if that’s not you (congratulations), it’s still possible to groove on Rossellini’s stranger-in-a-strange-land psychodrama.

Wheatley, underplaying his stylishness, goes for a subtle national satire about geeks gone wild, and that’s the fun here: On as mild-mannered a vacation as two Brits might devise, a killer comes along—and, after a while, is politely welcomed in, the kettle simmering.

Polley has gone further into the thorny subject of forgiveness than any of her peers. Her movies ache with ethical quandary; Stories We Tell aches the most.