Elizabeth Weitzman

At moments, the story skirts uncomfortably close to the grotesque. But this atmospheric oddity delivers a surprisingly sensitive take on the overwhelming ache of loneliness.

Though the film is as long as the escape route, Richter's brisk direction keeps us riveted through the suspenseful finish of his vivid history lesson.

Heated speeches about the International Monetary Fund, debt relief and global responsibility may not sound like your idea of Friday-night entertainment, but Sissako makes a strong case.

There are a few fight scenes, but they're as unshowy as the rest of this restrained film. If your warrior ideal is Uma Thurman in "Kill Bill," you may not have the patience this gentle story demands of its viewers.

Unlike most indie directors dealing with this sort of material, Maggio refuses to wallow in the romance of either misery or redemption. Instead, he hangs everything on the honesty of his lead, unknown actor Jordan -- who is so good that if there's any justice, he won't remain unknown for long.

Still witty and eloquent, these cerebral boys became the haunted men who do their best to share their experiences with us, even as they know we'll never truly understand.

Seen through Demy's eyes (and Raoul Coutard's shimmering black-and-white photography), their extravagance is so effortlessly cool, you feel somehow lucky just to be there with them.

Terrifically sneaky psychological thriller, which takes great pleasure in watching carefully constructed family values come tumbling down.

A lovely, almost painfully intimate story of female bonding that never panders to its characters or its audience.

As befits a production of impeccable French pedigree, the acting, set design and lush cinematography are all outstanding. But the story is told so slowly.

Hard to watch but important to see.

Clever, slightly edgy fun.

The film is structured so we come away with two competing, and yet complementary, impressions. First, that our political system has become infected with a rampant and deadly corruption that has spread out of control. And second, that there is a communal cure.

Although Voyages is mapped with anguish and fear, director Emmanuel Finkiel's characters are survivors, and he never lets us forget it.

Though younger fans of Cameron's 1997 blockbuster may be a little disappointed at the lack of, well, Leo, Cameron persuades us to share his obsession with the ship's history.

And oh, what stories these heroes have to tell - and what incredible sights they brought back with them.

If her (Noujaim's) movie teaches us anything, it's that no reality remains unspun.

With a respectfully committed cast, gorgeous scenery and two sad-eyed leads that will break your heart (the kid and the dog are equally adorable), this is clearly not your typical family film. Which will make it that much more appealing to every member of your family.

The charismatic young women who populate Daniel Peddle's illuminating documentary are vibrant proof that there's still an untold story waiting around every New York City corner.

Genuinely entertaining and, thanks to a well of self-deluded quotes from the men, shockingly funny.

The title might as well refer to the viewer who tags along on Louis' often-silent journey from solitude to some tentative form of family. Some will consider the experience insurmountably frustrating; others will find it exhilarating.

Despite the obvious cultural differences, what we come away with is a surprising sense of familiarity. Not even the widest political chasms, Gordon finds, can eradicate the universal pleasure of a young girl's giggle.

Kudlácek's primary focus, however, is on Deren's work, which means we don't learn enough about her complex, fascinating personality. On the other hand, she's offering a too-rare opportunity to see substantial portions of Deren's seminal films.

Both compelling and disturbing, this tragicomic documentary follows five dreamers as they pursue romance.

A vanity project so preposterous it deserves to become an instant camp hit.