It’s not without its problems, but Shun Li and the Poet is quiet, charming and believable, the sort of movie that’s good for a cold afternoon, a hot cup of tea and a good cry.

Those given to the idea that human childbirth is sacred are sure to find Birth Story: Ina May Gaskin and The Farm Midwives right up their alley.

Some people will grouse that Oz the Great and Powerful is a pale imitation of a great film.

One of the worries of an Up series neophyte must be, “How will I possible keep all these people straight?"

Before I had a chance to screen Don’t Stop Believin’: Everyman's Journey, I’d heard rumors: It’s corny. It’s silly. It’s hagiographic.

Each time some guy in the United States calls himself a hunter, he should be forced to watch Happy People: A Year in the Taiga.

It’s difficult to describe what’s more irritating about A Place at the Table.

It finally happened. There’s a movie so bad, so stupid and so devoid of anything resembling decent characterization, compelling story and eye-catching visuals that it demands only a half-viewing.

Now that Damien Echols, Jessie Misskelley and Jason Baldwin, the so-called West Memphis Three, are free, do we need more media devoted to them?

The Waiting Room is filled with heartbreak. It’s also some of the most riveting documentary filmmaking you’ll see this year, or any year.