Bill White

Control is director Anton Corbijin's first feature, and he too frequently makes the mistake of falling back on his rock video skills.

With more sympathy for Johnston's suffering and less reveling in the fruits of his madness, The Devil and Daniel Johnston could have been a great film instead of a disturbing one.

It is ironic that the core audience for Chop Shop is that very crowd that has recently taken steps to redevelop the Iron Triangle into something more Manhattan-friendly.

Director Brown has made a career of chronicling the history of American folk music, and Pete Seeger: The Power of Song is a worthy companion piece to his 1982 debut, "The Weavers: Wasn't That a Time?"

Takes a humorously gentle approach to the culture clash between the primitive and the modern. With wonderfully natural performances by the children, this is a family movie that crosses cultural boundaries in a celebration of the magical possibilities inherent in everyday objects.

Westfeldt's screenplay and Cary's direction combine to make it the best Manhattan love story since "When Harry Met Sally."

Life on the freeway is hell, but what comes next for these workers might be worse.

While the animation is only so-so, Mamoru is a good storyteller with a firm grasp on both the story and characters.

The film comes to life when Cohen is on screen.

An eye-opener for those unfamiliar with the tribulations many immigrants endure on their road to American citizenship. And yes, it is also a fairy tale, but not all fairy tales are for children.

Zhang is a master of detail and spectacle. There is also plenty of comedy, particularly in the scenes with linguistically challenged translators.

Even without the oral history, this trippy exploration of Cobain's earthy habitations would be worth seeing as a "Koyaanisqatsi" for the Puget Sound area.

Deepened by the socioeconomic undercurrent that suggests the lengths to which workers are forced to prostitute themselves to survive corporate downsizing.

Panayotopoulou casts a transcendent eye upon her downbeat subject matter, never dodging the unsentimental truth that growing up is about learning to live with the loss of those things we have loved.

The Groomsmen, while as corny as a Staten Island marriage proposal, rings true on many levels.

John Sayles ventures into August Wilson territory with Honeydripper.

The film is imaginative but ugly, with bodily functions an unending source for grotesque and revolting imagery.

An allegory of our times, Shotgun Stories is a tragedy of biblical scale and an intimate family drama. Unlike the more lauded films of last year, which glorified a national preoccupation with bloody deeds, Shotgun Stories is a passionate cry to end the violence and a reminder that we, as free individuals, have the power to determine our own destinies.

Although the film is entertaining, its cleverness is not enough to cover its shortcomings.

Offers compelling footage, but its revisionism can be distracting.

Unlike the worthless torture porn that is destroying the genre, Stuck is a horror movie with a reason for being.

A slight but wise comedy about the loneliness that makes all men brothers.

So extreme in its sacrilege that it achieves a kind of sacredness, The Holy Mountain is a transcendental feast of the grotesque and the sublime.

In a genre that has been battered by the cheap grotesqueries of special effects, it is a pleasure to be unsettled by something as simple as an invasive beam of light in the shadows of a haunted house.

Captures both the spirituality and humanity of monastic life.

Most disappointing is the ending, which, in projecting the possibility of a saner and more hopeful world, is a bit of a cop-out.

It works as a wistful coda to suggest that the song will go on long after the show is over.

Not simply a coming-out story but a journey into the conflicted androgyny of early adolescence.