Tribeca Festival — A–Z of films

Memory, reality, fact and fiction blend to give you a vivid 'feel' for the interviewees' recollections while being acutely aware that this remains a remembered reconstruction of the past.

A solid primer, a celebration and, as for Hoffman? He's totally rad.

Brilliantlove falls hard on its bare backside between the two stools of pornography and erotica.

For the most part it’s a clever, solid script with a quirky take on the femme fatale role.

Every image drives the story on, or highlights the characters’ tragedy.

There's no doubting the seriousness of the point Chapiron is trying to make either regarding the way that young criminals can become trapped in a spiral of reoffending, but by pushing all the action into barely believable melodrama, his argument is weaken

It's pretty torturous stuff.

Bad rugby and fantasy sex fail to win the thrill-a-minute prize for originality.

An over-long saga that drowns the considered moments in superfluous fluff.

Although this is worth watching purely for Duvall's superb turn, he doesn't want for support.

This is a powerfully atmospheric film that goes beyond the conventional techniques of documentary to communicate concepts we might otherwise struggle to grasp.

What is most surprising about this film is not the dilligence with which Sundberg and Stern set about following the course of Rivers through a year of her life - although that is certainly in evidence - but how incredibly welcoming she is.

Required viewing.

The real star here is creator Eromose.

Lola Sepa will always be for me now a real character I have seen, not a fiction.

Fails to do anything that hasn’t been done before or better.

The bleached-to-monochrome palette and rich textures are stunningly beautiful to behold, if also deeply unnerving.

A riot of slapstick humour, bizarre gadgetry, spectacular stunts and unlikely adventures.

It may be a little rough around the edges but there is plenty here to commend.

Annie is played by newcomer Alison Barry, and she's amazing.

A disjointed, dark narrative of guilt and repressed desire that is well-acted but doesn't ultimately add up to as much as it promises.

It wouldn't matter so much if Holofcener was seeking to undercut some of this privilege but what the film appears to be saying is that it's okay to be materialistic, as long as you occasionally wring your hands about it first.

A feelgood film, enchantingly shot.

Omar Rodriguez-Lopez gives us a sensational taste of his talents in front of and behind the camera.

As the film progresses through bouts of selfishness and success, you learn to dislike him more.

Spork may pluck the heartstrings but its does so with an askew sense of humour free of Hollywood schmaltz.

All-in-all... it’s merely OK.

Despite the fact that there is easily enough material here to have made individual documentaries on both men, a virtue is made of marrying them together.