Derek Elley

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 wildly inventive, highly cinematic director's showcase that looks likely, at least in the West, to enthuse fans of Asian -- especially Korean -- genre movies more than general auds.

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.

An easy-to-digest slice of literate entertainment for upscale and older audiences that lacks a significant emotional undertow to make it a truly involving -- rather than simply voyeuristic -- experience.

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

Opening half-hour has some of the best stuff in the movie, walking a precarious line between black irony and showing the war from a totally German viewpoint, without tipping over into gallows humor or parody.

A rough, gritty, often scabrously humorous tribute.

A monumental piece of miscasting in the title role, and an apparently tin ear for the nuances of English dialogue by Gallic helmer Francois Ozon.

Full of charming moments, but swinging hither and thither between mainstream entertainment and an over-cooked anti-racist tract.

Despite its large cast and complex criss-crossing from past to present, the movie rarely catches fire as an involving human drama.

A solid slice of entertainment without reaching the psychological depths promised by the subject matter.

Mediocre, dramatically flat picture.

Mainland helmer Wang Quanan and his regular lead actress, Yu Nan, tread on largely familiar ground in Tuya's Marriage.

There's a fable-like quality to this first feature by documaker Ra'anan Alexandrowicz that packs just as much punch as a more "serious," didactic movie while entertaining the viewer at the same time.

The Wedding Banquet slides down easily even if it doesn't leave much aftertaste.

The pic often plays like a Cliffs Notes version of a longer movie: Pacing and continuity aren't choppy, but there's enough material here for a full-length drama that would go deeper into the characters and their backgrounds. Eklavya is good as it is, but lacks tragic heft.

Visceral, torn-from-the-memory filmmaking that packs every punch except one to the heart, Lebanon is the boldest and best of the recent mini-wave of Israeli pics ("Beaufort," "Waltz With Bashir") set during conflicts between the two countries.

A half-klutzy, half-engaging eccentric comedy.

Laden with gritty action, but with an emotional undertow that carries the drama even through its weaker moments, picture reps a strong comeback by Hong Kong helmer-producer Peter Chan.

A 10-course treat for the eyes and ears.

Precision lensing by Benoit Delhomme, and charming, contained playing by the amateur cast, add up to a tasty package.

Shaky handheld lensing, terrific cutting and uplifting music build to a grandstand finish in which the main characters are bound tightly into the physical drama. It ain't subtle, but it packs a punch at a simple emotional level.

A fantastical romp with a buoyant pace, exotic locations, a finger-popping score, appealing leads and spicy cooking demonstrations.

The iconic '30s song "Gloomy Sunday" gets a distinctive celluloid setting in this well-played, cleverly scripted pic in which music and character are inextricably combined.

Neeson growls his way through the functional dialogue as an unstoppable killing machine in impressive, cold-eyed style.

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.

Has buckets to spare of that rarest screen commodity — genuine, engaging charm.

An exquisite reflection on personal bereavement.