Deborah Young

The awkwardly titled Every Thing Will Be Fine seems more like a showcase for expressive camerawork pushing the limits of cinematography than anything else. Actors the caliber of James Franco and Charlotte Gainsbourg get the short end of the stick in this angst-ridden drama.

Amazingly, Panahi turns the utterly simple, economical format of a camera inside a car into something relevant to his own artistic state and full of eye-opening insights into Iranian society.

While there are implicit references to the horrors of the Soviet and post-Soviet state and to the 20th century in general, this monstrously overflowing film seems to aim even higher.

It's a wonderful idea with good crowd-pleasing potential and, had the story-telling been more credible, this could have been a major coup for all concerned.

An extraordinary ride through Bollywood’s spectacular, over-the-top filmmaking, Gangs of Wasseypur puts Tarantino in a corner with its cool command of cinematically-inspired and referenced violence, ironic characters and breathless pace.

In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature-length film.

A film whose very surreal, disturbing first hour dissolves in disappointing B-movie nonsense at the end. Still it’s hard to remember a film about S&M as funny as this one, or one as beautifully and weirdly imagined.

All the actors know how to turn on the charm and director Johnnie To hits the laugh buttons, but the main aim seems to be playing on women’s fantasies about three very hot guys who are dying to drop everything and fall in love.

The film is more than just a chic thriller. Alongside its clear -- at times overly so -- depiction the pain and vanity of social inequality, Virzi and the fine cast explore the unhappiness of rich and poor alike in a society that measures a person’s value in terms of euros.

A taut, involving drama centered around the mysterious disappearance of a young woman, About Elly confirms director Asghar Farhadi as a major talent in Iranian cinema whose ability to chronicle the middle-class malaise of his society is practically unrivaled.

Complexly plotted, elegantly shot and orchestrated, this is the kind of long-winded, intermittently involving festival package that will earn the director of Tokyo Sonata more critical appreciation but will struggle to find a theatrical audience. For a film that requires nearly five hours of viewing investment, it feels terribly stingy on the emotional payoff.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

The story of Mohamed, who leaves behind his normal life for the money and excitement of piracy, is illuminating, even if he is never a terribly sympathetic character that the viewer can warm up to.

The last sequence takes the esoterism one step farther, in a beautiful ending that seems to link European wealth to those long-ago events in Latin America.

The toll the disease takes on the life of a brilliant linguistics professor is superbly detailed by Julianne Moore in a career-high performance, driving straight to the terror of the disease and its power to wipe out personal certainties and identity.

Though it abounds in the kind of sardonic humor intrinsic to life’s absurdities, the film is rarely laugh-out-loud funny. In a nutshell, quiet desperation prevails.

The sunny, soap-and-water characters and thoroughly upbeat message may not be the stuff great films are made of, but in Jackie & Ryan the modesty of the story, the simple story-telling and honest emotions all come together in a satisfying whole.

The idea is original enough to pique curiosity, and the small cast, led by Alba Rohrwacher and the up-and-coming Adam Driver of HBO’s Girls fame, digs gamely into the material, but something is missing.

Once Pacino is surrounded by other characters, the comedy comes thick and fast and the material begins to come together in an absurd sort of way.

The Look of Silence is perhaps even more riveting for focusing on one man’s personal search for answers as he bravely confronts his brother’s killers.

All of these characters are worth knowing and the acting is excellent all around, but somewhere along the line the narrative arc vanishes and tedium sets in.

Although all the main characters and plot points survive the transition intact, they don’t carry the same weight. Him and Her have an undeniable literary, collegiate feeling, like reading a long novel and getting to know the characters inside out. Them steps on the accelerator in a sort of Cliffs Notes version.

Closed Curtain is a moody, intellectually complex film that requires good will and brainwork on the part of the viewer to penetrate and enjoy.

Refusing to offer easy answers or perspectives, Dormant Beauty is directed in such a way it doesn’t need to take a clear-cut position on the question, because like all the director’s work it has no concern with convincing people of anything, but a great deal of interest in illuminating contemporary Italian society.

The film’s methods are boldly unorthodox and its constantly alternating moods and shifts in tone from drama to humor, joy to tragedy can be disconcerting. It’s not a film for all audiences, but despite its eccentricities it is always watchable, thanks to strongly drawn characters and the soul-stirring poetry of its imagery.

Wise beyond its years, like the teenage protag Gelsomina, Le Meraviglie (The Wonders) is a wistful but no-tears swan song recounting the disappearance of traditional rural life-style in Italy.

The final half-hour is a joy to watch, as turning points follow in rapid succession.

If it wasn’t for the charming top-liners who can make literary dialogue sound sexy in their sleep, the war in Fred Schepisi’s Words and Pictures would have to be called off after the opening skirmish.