The strangeness of truth compared to the limits of the human imagination gets a crystalline demonstration in Malik Bendjelloul's Searching for Sugar Man.

Schadenfreude is a tempting thing. That's particularly true when dealing with characters like the ones at the center of Lauren Greenfield's stunning documentary, The Queen of Versailles.

Union Square may grate on you early on but, like its main character, all it wants is for the audience to give it a chance to show what it's really about. In this case, it's not too much to ask.

Collaborator, an assured directorial debut for actor Martin Donovan (who also wrote the script) is smart, funny and tense, featuring a riveting performance by David Morse.

Woody Allen's To Rome With Love is a valentine to that city, rendered through a series of semi-connected stories set in the Italian hub. It's light and frothy, mixing silliness, romance, magic realism and absurdity.

Lorene Scafaria's Seeking a Friend for the End of the World strikes a different chord: one that is wistfully romantic, a little melancholy and unexpectedly funny.

I settled in for the screening of Marina Abramovic -- The Artist is Present, with the same skepticism I'd had when I went to see her retrospective at the Museum of Modern Art, which the film documents.

I'm not sure why, but no one has been willing or able to speak truth to box-office power, so let me try: Robert Pattinson is a terrible actor.

Small and delightfully self-assured, Safety Not Guaranteed celebrates the idea of taking a chance and accepting the unexpected, in ways that are quietly funny.

Nominated for the Oscar as best animated feature (which went to the visually brilliant but drastically unfunny Rango), A Cat in Paris is a slight but entertaining tale, most noteworthy for going old-school, with hand-drawn animation.

Wallander: The Revenge is the first of the Swedish adaptations to reach this country, in the wake of the Girl with the Dragon Tattoo-inspired frenzy for Scandinavian mystery-thrillers.

For a movie based on a fairy tale, Snow White and the Huntsman is kind of grim -- or is that Grimm?

The temptation to make lots of marijuana-derived jokes would be a lot stronger if High School, an alleged stoner comedy, were actually funny.

Lovely Molly is a direct descendant of The Blair Witch Project. But this genre of horror film is played out -- or at least this slight, rarely unnerving effort makes it seem so.

Oh, let's just get it out there: This is a movie about the invention of the vibrator and women seizing the reins of their own pleasure.

Maiwenn Le Besco's Polisse is tough and compelling, a police drama with no real plot but, rather, a snapshot slice-of-life of a group of Paris cops coping with what may be the most demanding assignment on the force.

A Bag of Hammers isn't out to change the world. But it does capture the sense of what happens when our world does change, in ways that bigger, more expensive films too seldom achieve.

When Tim Burton and Johnny Depp decided, "Oh, wouldn't it be fun to make a movie out of the campy '60s TV show Dark Shadows," the correct response should have been the following three words: Wild Wild West.

Boaz Yakin's Safe is high-octane silliness, a movie whose individual parts are greater than their sum.

The Five-Year Engagement wrings a slightly different change on the old boy-meets-girl formula -- and finds enough big laughs to make the whole thing enjoyable, even if it's never particularly fresh.

Marley is a welcome documentary, one that celebrates Bob Marley's spirit, his genius and his influence. If it errs on the side of hagiography, well, at least it gives us glimpses of previously unseen Marley performances.

It says something about the state of romantic comedies today that the ideas in a movie like Think Like a Man -- or in books like Steve Harvey's Act Li...

To the Arctic, like the cable series Frozen Planet, provides a precious historical record. At some point in the future, films like this will provide the only visual record of polar bears, caribou and other Arctic fauna that will eventually disappear.

Thanks to a marvelously full-bodied performance by Michelle Yeoh and a complementary one by David Thewlis, The Lady overcomes its own obstacles -- principally ones of pacing -- to present a moving portrait of courage, resilience and conviction.

In Lockout, we have a prison-escape film that features an actor in search of literal escape -- from this film.