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David Guggenheim's delightfully unsnobby symposium of a documentary convenes three masters who share one love: electric guitar. Page is a walking monument to Led Zeppelin’s heavy virtuosity. While the classic rocker is a rock classicist devoted to technique, White bangs on as a dirty minimalist who imagines roots rock as a primal struggle.

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Gus Van Sant's portrait of San Francisco politician Harvey Milk clunks along as the squarest movie he's ever made, a result of the director investing more emotion in the martyred idol than in the bleeding man.

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Combining elements of a D-grade erotic thriller and a deconstructed international thriller, Boarding Gate proves duly snazzy and sleazy -- kinda skanky in a highfalutin' way.

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The action -- if action isn't too strong in the context of Gus Van Sant's latest downbeat meditation -- partly unfolds at a skate park in Portland, Oregon.

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David Gordon Green, a director who made his name creating detailed portraits of the small-town South (like George Washington and All the Real Girls), heads up to Pennsylvania and makes it look like the most middle-American place in middle America.

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The makers of this extra-­crunchy popcorn movie -- an Inside Man-ish heist flick, but also a spy tale, and ultimately a tribute to an exuberant game of chicken -- claim it’s based on a true story. If they’re serious, then it’s also a masterpiece of investigative journalism, one that shows British intelligence agents concocting a scheme too baroque to believe. Follow this exhilarating loop: In 1971 an ex-­model named Martine (Burrows, as glossy as everything else on display) gets busted smuggling dope into Heathrow, and her part-­time bedmate, a man on the rise at MI5, helps her out of the jam in exchange for a little favor.