The latest in a neverending series of public mash notes to cinema's ultimate sex goddess, "Love, Marilyn" is an earnest but cluttered recap, adding little insight to an oft-told life story.
A pallid Vanessa Paradis gets in touch with her blocked emotions at an inherited "House in Brittany," where ghosts act like therapists in Anne Le Ny's fluff feature.
A leading Swedish newspaper editor who staunchly opposed Hitler's fascism and his own nation's neutrality during WWII is the subject of Jan Troell's "The Last Sentence."
Brisk, TV-targeted docu "Show Stopper" provides a colorful chronicle of a personality some regard with love, others with loathing, but who's inspired a certain awe from all for his sheer chutzpah.
Starring a six-decade-plus veteran of Filipino cinema, and dedicated to esteemed playwright Rene O. Villanueva (writer-helmer Jun Robles Lana's late mentor), "Bwakaw" gives grumpy-old-man par…
Alistair Morgan's novel "Sleeper's Wake" won critical praise for its spare, artful prose, but there's little that's spare or artful about Barry Berk's film version, which treats the somewhat…
There's a gold mine of vintage clips in "The Secret Disco Revolution," but Jamie Kastner's documentary tethers them to a strained thesis and a misfired package concept.
Intriguing if ultimately less than satisfying, horror-meller "Here Comes the Devil" takes a low-key, low-graphic-content approach to demonic possession.
This year's crowded field of Snow White movies has a winner, at least in terms of quality, in Pablo Berger's delightful "Blancanieves."
An unlikely fit for director Barry Levinson that indeed turns out to be a poor one, "The Bay" is a gruesome but uninspired environmental-disaster thriller.
Gleefully trashy "Aftershock" applies a grindhouse sensibility -- minus the faux-oldie stylings of other recent exploitation homages -- to a disaster-survival thriller that acts more like a horror…