Gibney signed on to film Armstrong's comeback attempt in 2009, in which he supposedly was going to prove that he had won his previous championships cleanly, despite a blizzard of accusations saying otherwise.
Hannah Fidell's A Teacher is exactly the kind of movie I love to discover at film festivals: small, low-budget, without famous faces -- but with a strong dramatic vision and the intelligence to carry it out with minimal resources.
In A World announces the arrival of a new triple-threat talent: Lake Bell, already established as an actress. She wrote and directed (and produced) this new film, which was a delight at Sundance and arrives in the dog days of summer like a cool breeze.
It's the rare teenager who can see beyond tomorrow. While they may worry about the future, they tend to live in the moment because, among other things, they feel immortal and most have little evidence to the contrary.
Geoffrey Fletcher's filmmaking debut, Violet & Daisy, is the summer's oddest, most original treat. Imagine a script by Quentin Tarantino, directed by Wes Anderson - and you have an idea of just how deliciously surprising this film can be.
I heartily endorse the original Hangover. Now we've got Part III. And yes, I recognize that the Roman numeral is meant as a joke -- but I have to point out that it's about as funny as many of the gags in this uneven and busy film.
Chanoch Ze'evi's documentary, Hitler's Children, tracks down survivors of the top command of Adolf Hitler's Third Reich. What they've made of the world is unique from person to person and raises questions in the viewer, as well.
To say that Evil Dead is a film for a specific audience is an understatement. If things like dismemberment and self-mutilation make you queasy -- as they would any normal person -- then you probably shouldn't even visit the same multiplex where this film is showing.
The darling of the Australian Academy Awards and a hit on the festival circuit, The Sapphires is that pure treat: an aggressively entertaining movie about the struggle, uplift, romance and joy of music.
Not to put too fine a point on it, but as someone who was working as a rock critic for the first decade and a half of Journey's existence, I always regarded them as unexplainably popular, an at-best thoroughly mediocre hit-making machine.
Dear Steven Soderbergh: Please don't stop making movies. Your name is high on the list of filmmakers whose careers I'm thankful have coincided with my career as a movie critic. And Side Effects is further proof that you are at the height of your powers as a filmmaker.