Derek Elley

Claire Denis comes up with her emotionally richest pic to date in Nenette and Boni, a multilayered look at unformed teen emotions and the mysterious, almost invisible ties that bind siblings.

Delightful comedy of manners.

An ace performance by 26-year-old Julia Jentsch ("The Edukators," "Snowland"), as the quietly determined Munich student who was beheaded for distributing counter-propaganda leaflets in 1943, gives pic a focused dramatic power.

Engaging, highly accessible movie that marks a slick feature debut by helmer Jeong Jae-eun.

Though it doesn't quite match recent classics like "Kabhi khushi kabhie gham" in sheer technique and production sheen, in-depth star casting and thorough entertainment values make this a must-see for Bollywatchers.

A marked strength of the movie is that it does succeed in making the unlikely central love affair believable within its own universe.

Balances character, grit, spectacle and visceral action in a meaty, dramatically satisfying pie that delivers on the hype and will surprise many who felt the Hong Kong helmer progressively lost his mojo during his long years stateside.

A dazzlingly lensed, highly stylized meditation on heroism.

A rarefied love story, conducted with no dialogue between the principals.

A crackerjack serial-killer chiller in "Seven" mold, Tell Me Something cleverly disguises its thoroughly generic content and leaps of logic with highly honed technique and an involving approach to narrative.

A family ensembler of utter simplicity, Oliver Assayas' Summer Hours is a salutory (and belated) reminder that, as with his earlier Cold Water and Late August, Early September, some of this writer-director's best work comes in modest packages.

A deliciously observed, ironic take on middle-class Austrian life through an introverted teen's eyes, "Lovely Rita" reps a strong step up to the feature plate by 28-year-old Jessica Hausner after a couple of well-remarked shorts.

There's no shortage of disaster stories in the history of film production, but none have been recorded with such frankness, immediacy and aching sense of disappointment.

On almost every level, there's never quite been a monster movie like The Host. Egregiously subverting its own genre while still delivering shocks at a pure genre level, and marbled with straight-faced character humor that constantly throws the viewer off balance.

Pic is superbly honed at both script and performance levels, with character taking precedence over action.

An epic story of mismatched love shaped in the most intimate terms, the Ingmar Bergman-scripted The Best Intentions packs a sustained emotional wallop that lightens its three-hour span.

An ersatz "Pride and Prejudice" in all but name, Becoming Jane is a finely tooled Brit-lit costumer that, like Anne Hathaway's flawless accent as the young Austen, lacks only that final convincing 5%.

Surprisingly conventional Olde London Towne gaslight mystery, gussied up with some doctored visuals, and an eccentric performance by Johnny Depp.

Recognizably Godard with its playfulness and wordplays, but deeply human at the same time.

Toplining British comedian/wit Stephen Fry in a once-in-a-lifetime role as the brilliant, acerbic playwright, and mounted with a care and affection in all departments that squeezes the most from its $10 million budget, movie is a tony biopic that manages to combine an upfront portrayal of the scribe's gayness with an often moving examination of his broader emotions and artistic ideals.

Bannen and the gawky Kelly, whose screen chemistry is vital to the film's success, make a delightful pair of stumbling shysters, and Jones' script weaves a sizable tapestry of other characters to flesh out the village.

A movie for the age, and a keeper for the ages, Pride & Prejudice brings Jane Austen's best-loved novel to vivid, widescreen life, as well as making an undisputed star of 20-year-old Keira Knightley.

Engaging chemistry between leads Emmanuelle Devos and Vincent Cassel.

Picture more than delivers on the action front -- not in bang-for-your-buck spectacle but in the kind of gritty, doculike sequences that haul viewers out of their seats and alongside the main protags.

As in "Divine," there's an uneven quality to Suleiman's often surreal ideas, but in general there are way more hits than misses this time round, some of them laugh-out-loud.

A quietly subversive my-sister-is-turning-into-a-werewolf movie that doesn't wimp out at the end.

Kore-eda sketches the inner, spiritual and emotional lives of the children with subtlety and sensitivity, delivering the goods after a seemingly directionless first half.

A wild, intensely cinematic ride into two men's burning desire to get even.