Tribeca Festival — A–Z of films

Angels Crest has a number of peripheral problems, mostly to do with the sheer number of under-developed characters and subplots.

The film appears to have had a long and somewhat troubled genesis of its own.

Silver offers no easy way out of his moral maze, just an unflinching look at conflict and its impact both on the perpetrators and those who watch.

This is a tough but beautiful landscape and it has bred tough but beautiful people as director Alma Har'el's film goes on to elegantly illustrate.

The rich and strange debut of Panos Cosmatos throbs with style and portent, which proves a winning combination even if it is somewhat light in the narrative department.

Like many an Old West prospector's treasure, while Mateo Gil's movie has a good- looking gloss its substance is more fool's gold that fortune.

Hidden camera footage provides especially distressing evidence of the extent of the physical abuse.

With excellent sound work, a keen eye and a good subject, this is a lovely piece of documentary.

Channing's friendliness and evident joie de vivre light up this film every bit as much as the bright lights, the dance routines and the fabulous costumes.

Sammo Hung provides the action sequences, there are model shots and good old fashioned matte painting and the costumes - oh, my, the costumes.

Donor Unknown never quite pushes hard enough on the big ethical and philosophical questions involved in the notion of fatherhood by proxy.

There's something increasingly bland and uninvolving about this Will Ferrell vehicle which, like him or loathe him, you've got to admit is a kind of achievement.

The thrilling archival clips and charismatic talking heads alone would make a fabulous documentary in the most traditional sense, but the judicious use of music really brings the film alive.

McDonagh takes what could be a hackneyed tale of mismatched buddy cops and spins it to blisteringly funny effect.

The film's gentle poetry conjures up flavours in the imagination.

Worthington is so wooden it's a wonder rubbing up against Mendes doesn't cause him to spontaneously combust.

Comedy aside, the story hinges on cunning plans and double bluffs that, when they work, are very effective indeed.

Our view, through Bergé's eyes, is that of the melancholic, someone who has the object of desire but has lost the object-cause of desire.

All three families documented in this film are hands-on and very much involved in doing good without doing harm.

Manages to do justice to Makeba’s wonderful talent and noble activism.

We have to ask ourselves whether we are watching a child being exploited or whether we are ourselves guilty of exploitation.

Director Sally Rowe does a great job with this human side, making a relatively inaccessible subject emotionally engaging and throroughly entertaining.

The humour and emotion are so sharp you might not feel them at the time, but Mullan's film cuts deep and leaves its mark.

While Sartet's back story is as pulpy as they come, it's the delivery that matters and in terms of action thrills, Cavayé never takes his foot off the throttle.

The script is knowing, loving and amusingly toys with the genre.

The documentary is never dull due to the excellent pacing and editing.

Like the chocolate at its heart, Améris' film is sweet, a little indulgent and over all-too-quickly but leaves a lingering glow of happiness.

An unashamedly trashy treat.

Aschan has chosen an austere, cold palette that reflects the cool calculations of Cassandra and Emma as they vie for dominance and she and her co-writer Josefine Adolfsson keep the scripting stripped down, so that the body language of the pair is as impor

While the film may be monochrome, every colour of emotion is represented here, from elation in the creative process to anxiousness and disillusionment.

The Trip is a big costume drama without the costumes.

In a filmic landscape littered with the lurching corpses of zombies and the emotional angst of vampires, it's refreshing to be presented with a mythology that is less familiar.