Derek Elley

Always imaginative, often arresting, but sometimes just too clever by half.

What makes Serenity refreshing is its avoidance of CGI, which gives the pic a much more human dimension; the evident chemistry between the cast; and a humor that doesn't rely simply on flip one-liners.

A thinly scripted mood piece centered on an estranged fortysomething among vacationing friends in Italy, Unrelated doesn’t carry the viewer along with its protag’s emotional problems.

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.

Maintains a bankable charm and innocence even when overdrawn on the special effects side.

A sprightly acted, warm and often extremely funny ensemble comedy.

Highly engaging, beautifully played romancer.

Gotham-based documaker Laura Poitras ("Flag Wars") comes up with a still-timely, quietly hard-hitting look at the Iraqi situation with My Country, My Country, focusing on the lead-up to and outcome of the Jan. 30, 2005, Iraq election.

A thoughtfully written drama of ideas with vivid performances by August Diehl and Ulrich Matthes.

The rare ability to make intelligent, entertaining cinema from hot-button current issues is beautifully illustrated by Lemon Tree.

Shows a rather arrogant disdain for its audience in between occasional flashes of flair.

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.

For all its digressions and occasional flat moments, Iwai's movie is a remarkable, acutely involving one, working on an emotional level that can only really be expressed through music -- a strong component in all of Iwai's pics.

Script is sometimes confusingly structured, and in its second half doesn't move as smoothly from scene to scene as in Kim's best pics.

One of the world's great cities comes vibrantly alive through its music and musical denizens in Crossing the Bridge: The Sound of Istanbul.

Davaa's strong visual sense, engaging cast and respect for basic film grammar make this slim exercise in managed reality go the distance.

Cast of regulars blends like those in a late-on Howard Hawks' movie.

Gorgeously mounted, but butt-numbingly slow.

Some general viewers may feel let down by the relatively scant action.

A 10-course treat for the eyes and ears.

Very Korean in its emotional content, while also preserving a quizzical distance that is quite French, picture is one of his lightest and most easily digestible metaphysical meals to date.

Shallow Grave, a tar-black comedy that zings along on a wave of visual and scripting inventiveness.

The movie plays like a career summation in which the 68-year-old writer-director has simply run out new ideas.

An overlong stygian comedy that badly needs a transfusion of genuine inspiration.

Tendency to go for art rather than action, and a leisurely pace that isn't bolstered by much dialogue or food for thought.

Pic is the eclectic Taiwanese helmer’s most accessible work since the 1986 “The Terrorizer” but is flawed by hit-and-miss scripting and performances.

A slow, empty, over-mannered snoozer that shows Taiwanese helmer Hou Hsiao-hsien asleep at the wheel.

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