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We hear Robert S. McNamara's voice before we actually see him – then he tells the director, "I don't want to go back and introduce the sentence because I know exactly what I want to say." McNamara is candid, opinionated, and passionate – qualities appropriate and endearing from America's former Secretary of Defense, under President Kennedy and President Johnson.

Here Errol Morris offers us a former leader of America's military force's inside knowledge in our nation's war-driven period from the Cold War to the Vietnam War. Some of the information McNamara reveals is astounding. What moved me was that, in the film, he is emotional and intimate – I felt privileged to be able to hear what this historical figure had to say. He explained the results of our actions in several aspects – from the statistical numbers our position in war has had on our daily lives, the impact of our technological weapons, and his own position on being our Secretary of Defense.

The autobiography The Kid Stays In The Picture by one time hot-shot studio head and producer Robert Evans may be the only book to have gained a cult following with its audio recording. Evans reads from his own pages, and his cool persona as a guy with a lot of regret and a lot of amazing memories are quite entertaining. The film version uses those audio recordings for narration and a lot of archive footage, film clips, and most creatively still pictures with a 3-D effect to tell this rather astounding story of Evans' miraculous Hollywood rise and then devastating fall.

At first Evans was in the clothing business in New York with his brother. And then one lucky break after another happened for the tanned haberdasher. Famously, on a business trip to Los Angeles he was “discovered” by Norma Shearer while lounging by the pool at the Beverly Hills Hotel. He was thrust into a minor acting career playing Irving Thalberg in the Lon Chaney bio A Man Of A Thousand Faces and then Pedro the bullfighter in The Sun Also Rises. That was the peak as an actor but he soon became an independent producer developing The Detective with Frank Sinatra. With Gulf & Western taking over Paramount Pictures out of seemingly nowhere Evans was made the Head of Production.

Going back to Grey Gardens in 1975, so many successful and fascinating documentaries have been about misfits in their exotic sub-culture world. Through Gates Of Heaven, The Cruise, American Movie, and Hell House the viewers are given a glimpse into a unique world that they may not have otherwise known exists. Not only do these often oddball worlds exist, but the people who live in them are completely passionate or even obsessed with maintaining their status in them. One such "world" is the competitive classic arcade game scene. It started - and maybe peaked - in the '80s but according to the fascinating documentary, The King Of Kong: A Fistful Of Quarters, it still continues and the nerds who occupy this world are obsessed with it.

Like many amazing documentaries, The King Of Kong: A Fistful Of Quarters has a plot so complete and ready-made, with a clear hero and a villain, it gives the impression that it could only have been concocted by a screenwriter. But no folks, it’s real.

Two men are in prison for the rest of their lives. One is Randall Dale Adams, an average man who appears rational, patient, and has had no distinct trouble with the law. The other is David Ray Harris, a young and destructive delinquent on death row after many years of trouble with the law. On November 28, 1976 their paths crossed in an act of gratitude and friendlessness when Adam had car trouble and the then 16-year-old Harris offered him a ride. By morning, a police officer would be shot dead and the trial to decipher which of them is guilty is enough to plot an entire trilogy of thrillers.

Documentaries are a strange breed of cinema, outlined by rules and guidelines set forth in order to produce "cinéma-vérité." This quest to give the audience "truth" leaves absolutely no room for bias, or theatrics for that matter. That is of course until Errol Morris came through with The Thin Blue Line, a documentary that successfully argues the innocence of a man and eventually leads to his release. After all, once you put a camera up to any situation, you are in some ways distorting truth. Morris simply adds reenactments and colorful visuals to the frame in order to give an appropriate feel to a film documenting a crime and the lousy justice department that attempts to solve it.

Recent attention to the children's situation in war-torn Uganda has been spoken about in art events and documentaries such as Invisible Children, and there's a reason for that – international events, especially in Africa, are becoming more and more cared for as history school books fail to cover these contemporary aspects of our global issues.

War Dance, Sean and Andrea Fine's documentary about children competing in the Kampala Music Festival, has been received ambivalent critical review. New York Times' Stephen Holden sums up the conflict:  the film "is so gorgeous that its beauty distracts from the anguish it reveals… in spite of its slickness, is an honorable, sometimes inspiring exploration of the primal healing power of music and dance in an African tribal culture."

When you're walking past all the asphalt and gleaming metal of the city, you forget how to feel sometimes. That never seemed to happen when you were a child. You were in tune with everything—you felt everything and wanted so much to please. Then you grew older and you noticed that the world had plans for you. If you felt something very powerful, or loved something fiercely, you learned to keep it to yourself. It hurts to contain it sometimes, but you do it all the same. For the group of disabled actors in the A.N.C.H.O.R drama program of Long Island, that is simply not a reality. What the human race has fallen out of touch with, these children and adults practice with bliss.

Every year, drama director Sandy Braun gathers the same eager actors in the program and puts on a wonderful performance with little support from outside sources. Most of the members are young adults and the disabilities range from Down syndrome as the majority, and others spanning from paralysis to several mild forms. This documentary follows the trials and tribulations of the group as it tries to pull off the best Wizard of Oz they can muster. They all gather in an auditorium and the drama director announces who received what part. I literally burst into tears when I saw their glee and satisfaction, particularly from one girl who becomes overwhelmed. The Wizard is played by a man named Josh, who is modest and pleased with the news. Dorothy, the Scarecrow, and the Wicked Witch are played by Trisha, Danny, and Elizabeth. The star of the program, John Stare, has the role of the Cowardly Lion. Another favorite in the group is David, who plays the Tin Man.