Bill White

Katharina Otto-Bernstein's oral history of Wilson's life and work, narrated by Wilson, with a handful of sycophants joining in on the choruses, is monstrously one-sided. It does, however, offer insights into the director's methods and motivations.

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.

There is a lot of history to be learned here, but the teaching is so slow paced that the most alert student may fall into a stupor by the end of class.

Despite the scenic appeal of Mexico's Baja Peninsula, the film may prove too nerve-racking for casual viewers. It is a racing movie for the inside track.

The film's one original moment comes when Bluto has a conversation with a cow. The rest of it, from the distorting lens used randomly to suggest unreality, to the twist ending lifted verbatim from the superior "High Tension," is about as imaginative as a portobello steak with onions.

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."

Director Takashi Miike's dish of sukiyaki spaghetti ala Sergio Corbucci is badly seasoned with scraps of reservoir dogs.

It is not giving away much to say that everything ends as expected, just not soon enough.

The Beautiful Country has an epic bearing, but a trite and troubled script makes it more a visual tirade than an engaging odyssey.

A disaster on all levels.

For those whose idea of hilarity is an adult and a kid throwing fireworks at each other, then getting stoned and playing piggyback in the mall, this movie should be a refreshing tonic.

Three movies gasp for life inside the clumsily titled Marilyn Hotchkiss' Ballroom Dancing & Charm School.

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.

It is a pretentious and incoherent blend of ghost story and frontier adventure that becomes more preposterous and idiotic with each passing scene.

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.

Although set 10 years after high school graduation, Just Friends is a dumb teen comedy.