Elizabeth Weitzman

Reichardt and her outstanding team ensure that we are fully invested in her striving heroes, and equally anxious for their promising young country, as well.

Shot in anamorphic, with long, silent scenes backed only by Amin Bouhafa’s haunting score, there is not a spare word or wasted image in the 92-minute running time. It should be said that this is not an easy watch, by any means. But it would be fair to call it a revelatory one.

A lovely, luminous dream.

Even those who've long noted Polley's intelligence on screen will be amazed by the perception she displays as a filmmaker.

Working from his own original screenplay, Crowe builds a story line full of unexpected twists and digressions.

Straightforward and immensely powerful, the movie offers a blunt assessment of the war from soldiers currently fighting it, and their perspective is not pretty.

Pegg and Wright are armed with an endlessly impressive arsenal of attention grabbers, from witty editing tricks to a wry soundtrack and a joke-packed script that demands multiple viewings.

Exhibiting the same sort of patience as his sensible hero, Philibert has created an extraordinarily humane portrait of a partnership between one adult and his very fortunate charges.

Riveting update of George Bizet's "Carmen."

First-time filmmaker Edet Belzberg may be the first person to assign any value to the lives of the homeless Romanian youngsters featured in her harrowing documentary.

Goldfine discover so many fascinating themes within their seemingly narrow subject that anyone with the slightest interest in history or human nature will find it absorbing.

Gripping documentary.

Overwhelmingly powerful.

The story is compelling, but Metropolis is such a visual masterpiece, it's easy to get lost within its seemingly endless layers of graphic complexity.

It has the most beautiful ending of any American film in years, a coda of reconciliation and remembrance set in a gentle L.A. rain.

Rarely do adaptations of stage plays work on screen, and almost never do they work as well as this one does. Most remarkably, the dryly comic "Moon" is virtually a one-man show.

Bar-Lev has created a film remarkable in its ability to capture both the worst and best of human nature.

Bujalski celebrates the awkwardness of twentysomething life, allowing Dollenmayer to create a beautifully authentic portrait.

Whatever it is you're looking for - comedy, horror, parades of singing frogs and dancing kitchen appliances - you'll find it in Satoshi Kon's anime adventure, a jaw-dropping feat of imagination.

Bursting with so much amped-up energy, you may need to rest once it's finally done.

Happily, Morrison's actors grasp his intentions perfectly, shading their roles so well that we never quite get a handle on anyone. Each player is outstanding, but the highest praise must go to Weston.

Director Lee Chang-Dong has boldly crafted a challenge rarely found on film. But if you choose to meet it, you'll be rewarded with one of the most original, indelible romances in recent memory.

It's not so much good material as divinely inspired delivery.

It is to Padilha's enormous credit that he steadfastly kicks aside our own culturally imposed frames of reference, insisting that we see the truth, and the humanity, within this very real story.

A raucous, riveting account of the greatest party you were never invited to.

Director Jafar Panahi has long been an eloquent and passionate representative for Iranian women. But judging by this deeply poignant comedy, they may not need a mouthpiece much longer.

A masterful collection of cinematic essays.

Hou intends to celebrate the classic 1956 children's film "The Red Balloon," and he has done a beautiful job. In fact, he may well have created a future classic of his own.