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The gift shop DVD from an exciting horse farm.

We get to see some beautiful country along the way, and there's some pertinent thinking on the levels of intervention needed in managing America's wild horse population.

Will delight anyone who dreams of living free, sleeping rough and scoffing beans around the campfire.

Has its moments of spectacle and danger, but offers too few genuine insights or rite-of-passage epiphanies.

What lingers ... are stirring vistas of the backcountry West, and admiration - for the Aggies' achievement, Mr. Masters's imagination and Mr. Baribeau's skill in chronicling it all.

Here's a documentary that literally rides off in two directions.

What viewers will come away with most is a renewed appreciation for the natural beauty of both the western region of the country and the wild animals that inhabit it.

It's a film with a cause, but it's also brimming with drama in the midst of jaw-dropping landscapes.

America has a wild horse problem, with over 50,000 mustangs waiting for adoption in holding pens. That's the central issue of this documentary, though it mostly takes a back seat to what might be classed as redneck porn.

[A] sumptuously packaged and goofily charming oddball feature-length advocacy advertisement about America's wild-horse overpopulation crisis.

The scenery is gorgeous, especially in the Grand Canyon, while echoes of Western mythology and cowboy lore forged by John Ford and Zane Grey are often present.

Devos knows just about how long to hold a mute static shot or hover over youth inhabiting suburbia to have resonance and depth. The 7 minute one shot ending is worthy of Antonioni comparison.

Violet is a moving film but may not be for everyone as it is slow, moody, and depressing.

To capture the confused numbness that can envelop someone in the wake of a loss is an achievement. To capture it in a profoundly visual way is challenging. To do this in your first feature-length film - as Bas Devos has done with VIOLET - is remarkable.

Each shot could stand out on its own as a striking short, but together they can have a surprisingly overwhelming effect.

Violet is an atmospheric drama that relies on its visuals to get the audience into the headspace of the main character. It is an arresting and intense watch that is wholly worth the experience.

I'm not sure [Bas] Devos's avant garde style suits the slight story, but the film grew on me after awhile because of some especially otherworldly scenes.

Violet is like looking at a sequence of mounted photos. You may well find its beauty if you can hold the film's gaze, but the viewer's one-way relationship to this meditation on grief is so unchanging it'd take a monk to appreciate it.

I wound up admiring the movie for its ambition while unsatisfied with its achievement.

Van Sant's influence clearly looms large, but Violet acts as more than its own artistic statement.

Violet is a terrific first feature from an assured, confident talent.

Despite a studied sense of detachment throughout, Devos' feature-length debut is a film of subtle power.

The film asks us to grapple with what we don't know, to the degree our patience allows. But there is so much splendor here that you may not mind the emptiness.

As a screenwriter - for this picture at least - Devos puts too much stock in his visual style to carry the meaning of a thinly plotted, snail-paced slice-of-life.

While Devos gets a little too wrapped up in his process, trying to remain elusive, he certainly has a vision for the endeavor that braids art with ache, looking to make sense of personal loss.

The final image, an 8-minute sequence shot, is a wonder to behold and ends the film on a perfect and perfectly poetic note.

Intensely stylized, highly original and utterly mesmerizing.

This is an exquisitely shot suburban tale of trauma, stretching the "show-don't-tell" golden rule of filmmaking to the furthest reaches.

Violet is deft and rigorous, oblique to the point of inscrutability.

It bores into the mourning process and its piquant combination of emotional numbness and sensory vulnerability, rigorously avoiding finding an easy way out of this quagmire.

It's formally engaging, particularly in its use of sound (and silence), but it's also understated to the point of being comatose.

A well-conceived British quota picture.

Seeing Allred aims to humanize one of the polarizing figures in recent memory by showing us where she came from and where she gets her drive.

...incendiary and timely.

The most striking parts of the movie depict Allred's impeccable, downright admirable composure in every combative situation in which she finds herself-and, as Seeing Allred makes clear, there have been many.

Docu about lawyer for victims of sex crimes, inequity

The message behind Allred's oeuvre is clear: Women deserve equal rights under the law, and the media can be a huge tool in getting us there when it's used thoughtfully.

Seeing Allred feels more vital than ever as a microcosm of all of the complexities and contradictions of the current state of feminism in the United States, during a time when forces seem to be conspiring to paint it in large, monochrome brush strokes.

Most lawyers are content to fight their battles far from the public eye. Gloria Allred isn't like most lawyers.

... helps to understand the importance of the feminist collective that for decades has been fighting for basic rights for women. [Full review in Spanish]

The film allows us, at least to a certain extent, to get behind the public persona to the private person.

As the directors dive into Allred's historical reasoning for holding press conferences, we see a fuller picture of the woman and the necessity for airing grievances in public.

Nobody will confuse Seeing Allred with a hard-hitting expose; rather, this Netflix documentary unabashedly celebrates publicity-savvy attorney/advocate Gloria Allred, shedding some interesting light on her career, even if it's all flattering.

A documentary that's remarkably engaging despite treating its rough-and-tumble hero with kid gloves.

If you think Gloria Allred is a glorified ambulance-chaser, this sharp documentary is an eye-opener.

Leaves a lot of questions unasked and tiptoes around plenty of other relevant conversations, but in its presentation of a career-in-full, it advocates persuasively for this advocate.

A comprehensive, unabashedly sympathetic portrait of Allred ...

An immeasurable Andalusian soul, a technical and artistic invoice at the height of the circumstances and an absorbent narrative. [Full review in Spanish]

It's vibrant and fierce, but a headache nonetheless. [Full Review in Spanish]

Adiós is a film that is as bitter at is it luminous. [Full Review in Spanish]

There is something in Adiós... that links it... to the genealogy of the great thrillers. [Full Review in Spanish]

Is lost among the twists and turns of a story that tries to bring together too many ideas. [Full review in Spanish]

As for the dramatic turns... they are presented in an anti-climatic way, through gradual revelations. [Full review in Spanish]

Gun Shy [is] a film that tries so hard to be an outrageous comedy adventure, but, much like the music of Henry's fictitious band, comes across as loud, obnoxious and with nothing meaningful to say.

Gun Shy is a desperate, embarrassingly unfunny attempt at a slapstick caper, with the script firing blanks at each and every turn.

Gun Shy is unlikely to leave much of an impression, even on those who've followed Banderas's interestingly hit-and-miss career.

It's loud and dumb and irritating and forgettable.

This lackluster comic thriller never matches the over-the-top enthusiasm of its star.

Gun Shy somehow manages to come across as being both screechingly over-the-top and desperately, painfully dull at the same time.

Random moments are not nearly enough to recommend this witless and graceless farce.

There's desperation for laughs, and then there's the wild, frantic grasping of Gun Shy.

... witless dialogue and a plot that has no idea where it's going or why - and certainly isn't capable of making us want to go with it.

The biggest problem for "Gun Shy" isn't its ridiculous premise or its frequently silly tone; it's that it doesn't fully commit to either.

Antonio Banderas hams it up in this dumber than dumb action-comedy that always reaches for the lowest hanging fruit for laughs.

...an agreeable - albeit forgettable - piece of work.

...so crammed with sentimental rubbish that it would make an author of birthday greeting cards blush with inferiority.

The whole family can go to The Last Gentleman and come away greatly edified, convinced of the rewarels of goodness and the awfulness of greed.

The picture has one really hilarious and unexpected bit of farce [which] stands as a great relief to the rest of the film, which is pretty much a stock affair.

The film simplifies the history of the riots, airbrushing out male participation. It does, however, highlight the real bravery of the female protestors, who fought not only ingrained sexism, but also the deep poverty that put their families at risk.

A hell-for-leather send-up of reality television so fast moving it needs a sign: no pregnant women or people with heart conditions allowed.

Low-budget black comedy skewers reality TV and the quest for fame.

Attempts to pay homage to the '80s oeuvre of filmmaker John Hughes, but its singular lack of emotional logic, charm and humor bring to mind a couple of hours in detention instead.

Stay Cool is their most grounded effort, attacking the formulaic discomfort and confusion of an impending high school reunion. It doesn't always convince, but it's the most approachable Polish production to date.

There is much here to find admirable but a whole lot less to genuinely like.

like an exercise in calculated nostalgia

This is thoroughly a family affair, but with the Polish brothers' upcoming film Manure just around the corner, Stay Cool feels a bit rushed, suggesting nothing more than an homage to Pretty in Pink or Some Kind of Wonderful.

The film is silly when it should be sexy, witless when trying to be funny. Everyone involved is probably deeply embarrassed to be associated with it.

An awkward, last-minute romantic dash to Bristol's Temple Meads station in the style of Richard Curtis only serves to underline the air of creative bankruptcy.

John Hay's film has been on the shelf since 2004, and whoever decided to take it from there has some explaining to do.

The Worst Film of 2007 awards race has now been called off.

The truth is, no matter how pretty this picture may be to look at, nothing can conceal its singular lack of humour or heart.

It is a poor movie indeed that makes you reconsider the talent of Richard Curtis.

while Dougray Scott is a viable romantic alternative, he's absent from too much of the film, leaving Alice to discover 'The Truth About Love' long after we all stopped caring.

Borrowed liberally from stock British elements (Dougray Scott's character is restoring a boat! There's a chase to stop a lover leaving!), there's nothing new to enjoy here.

A decent idea and cast are neglected in this ungainly Britcom with less of the com. A British actress might have been a better bet for this one.

...a predictable, thoroughly cliched romantic comedy...

A poignant and anger-inducing feature documentary from Morgan Jon Fox.

Moves along briskly and subsequently doesn't allow for much nuance, but its potency can't be denied.

Morgan Jon Fox's six-years-in-the-making documentary was inspired by 'a modern-day message in a bottle': a teen MySpace user's plea to be freed from a controversial 'conversion therapy' program designed to transform homosexuals into 'ex-gay' Christians.

Sometimes a Great Notion is a good somewhat compromised movie, that is justly famous for one of the greatest scenes in early seventies cinema.

Newman's security, both behind and in front of the camera, is overwhelming. [Full Review in Spanish]

A New Hollywood movie suffused in Old Hollywood values.

It's not a classic, in the sense of being perfectly formed. But the craft work is one of a kind.

Based on Ken Kesey's book, Newman's second film as helmer is not effective or cohesive as the first (Rachel Rachel), but Oregon locations and good acting by Henry Fonda and others compensate for uneasy fit between melodrama and action

When the film cuts away from the family soap opera dramatics and shows the macho men at work wielding their chainsaws at the logging camp among the giant trees, it has a buzz.

The result is rather good -- a sort of contemporary 'western' in the timber territory.

Terrific family drama

Newman's handling of the outdoor scenes, especially those involving work, is -- like his own acting -- restrained but powerfully evocative.

Surprisingly effective.

Newman starts tunneling under the material, coming up with all sorts of things we didn't quite expect, and along the way he proves himself as a director of sympathy and a sort of lyrical restraint.