Elizabeth Weitzman

With so many cynical Hollywood romances cluttering theaters, Zhang Yimou's unabashed simplicity is most welcome.

A very funny, solidly entertaining movie that, despite its unshakable obsesion with undergarments, is as sweet as a Kwik-E-Mart Squishee.

Both public tribute and private therapy session, Baadasssss! should have been a self-conscious disaster. By confronting his past with wit and style, Van Peebles has instead created a meta-cool history lesson and homage.

Sloppy, self-satisfied and surprisingly heartfelt.

It's a tribute to both the subject and his biographer that this story of one man's experience is also a vital chronicle of the times in which he's lived.

If you're looking for either insight or even just an introduction into the mind of a great artist, "One Day" is worth the effort.

There are times, to be sure, when Herzlinger's antics threaten to swing from cute to cloying. But the few missteps are gently redeemed by an unexpectedly charming finish.

Here's hoping its old-fashioned sensibility appeals to contemporary kids, because we could certainly use more movies as smart and sweet as this one.

Bergman and his gifted cast do an excellent job portraying the wounded, but still vital, connections that help these people heal even as they fervently believe it's time to give up.

Strikes a nice balance between smart and sweet.

If Chalk had been made by Christopher Guest - an obvious influence - it would get the attention it deserves. Packed with sly jokes, hilarious performances and sad truths, the movie will probably become a cult classic among educators.

The result is a highly amusing folly, rendered with a surprisingly gentle affection.

The Painted Veil may begin too slowly, but it also ends too soon.

The Groomsmen captures a single, specific moment, when responsibilities await but adulthood is still unwelcome. If their predicament strikes a chord, you may want to join Burns' boys for their final hurrah.

Conventional, but intensely passionate, war movie.

Despite a brief, unnecessary foray into melodrama -- stands alone as compelling entertainment.

It feels as though we're on a journey with Benjamin, who proves to be a wryly funny, passionate and complex traveling companion.

The heavy subject is tempered with gentle humor.

The beauty of Ai’s epic imagery feels like a perpetual challenge: Are you looking? Are you listening? Are you responding?

Cahill deserves major credit for keeping the story from becoming mawkish or twee. He was also wise enough to realize it's Douglas' show, and as soon as he steps into the frame, you'll know it, too.

She (Walters) may be working with old news, but she shores up this shaky film with a heart the size of an ocean liner.

Just like the can-do VW Beetle of the title, Herbie: Fully Loaded succeeds adorably despite the obstacles in its path.

Where Kim's best-known movie, "The Isle," was a stomach-churner, this beautifully composed canvas is the sort of film one falls into, resurfacing at the end with great reluctance.

Csupo needed two very gifted leads to do this beloved story justice, and found them in AnnaSophia Robb and Josh Hutcherson.

Masterly coming-of-age drama.

Very little actually happens in the movie. There are no cathartic breakdowns or soul-changing epiphanies. Instead, we're offered a collection of small moments that feel so familiar, they remind us how false most films really are.

A risky experiment with a striking payoff, Ted K is an impressionistic attempt to personalize the most unrelatable experience imaginable: life as a killer.

A provocative reflection of its rule-breaking subjects, Brett Morgen's political documentary re-examines the past while drawing unmissable parallels to the present.

Dives into the brutal heart of a place most people would avoid at all cost.

To Devlin's great credit, he keeps us rapt throughout.

The whole movie is a blast, thanks to a whip-smart script clearly written for kids and grownups alike.

It's a "First Wives Club" for single guys, giving voice to a whole range of authentic, if not always responsible, attitudes and emotions.

Deftly intercutting between several tenuously-connected lives, Barbara Albert's astringent drama is transformed by bright flashes of compassion.

Despite a somewhat unpolished look and a few slips into cliche, the film makes up in sincerity what it lacks in sophistication.

Gentle and affecting, it offers an introduction to a mostly unfamiliar world while touching on issues recognizable to all.

For those who've become increasingly conscious of the connections between strangers sharing a city, it's a challenge that's hard to resist.

Certainly has the look and feel of a masterpiece, but it's missing the emotional core that most moviegoers need.

So yes, you'll roll your eyes when the coach defies Papale's naysayers by insisting that "he has heart." But if there's a single surprise on this familiar field, it's that the movie does, too.

While some may be put off by Peggy's wild-eyed mania, and the film's broadly comic tone, Shannon makes this lost spirit strikingly sympathetic.

Yektapanah's stripped-down methods --remote setting, a cast of locals, the sparest of scripts -- are used so effectively, it quickly becomes clear that he's most concerned with the similarities rather than the differences between people.

The jokes, fast and furious enough to satisfy both teens and intrepid parents, are far funnier than they are raunchy.

The result is a quietly simple fable that hits you hardest after it's over.

Indeed, this year’s Antiquarian Book Fair is celebrating its 60th anniversary at the Armory right now. And after seeing “The Booksellers,” you’ll be a lot more likely to think about how to get there, and maybe a little less inclined to place that next easy order on Amazon.

A neat little almost-thriller, this witty French diversion manages to mess with your head with little apparent effort.

Visually arresting and deeply disheartening, James Longley's impressionistic documentary explores the pain of a shattered country by homing in on a few tiny shards.

If you think of Reilly as little more than a camp icon, you've got a lot to learn.

Allen and Short seem to be having so much fun that their enthusiasm is entirely contagious. Let the season begin.

With its carefully-chosen soundtrack, funky animation, and enthusiastic interviews, Dean Budnick's affectionate documentary pays apt tribute to Wetlands, a local landmark that closed in 2001.

Won't replace anyone's annual viewing of "It's a Wonderful Life." But your family could find a worse way to take a holiday break.

Though some see Treadwell as an idealistic martyr who made the ultimate sacrifice for his passion, others vilify him as an arrogant fool who courted his own end.

It's clear that Kor's goal is to keep people talking, and thinking, about impossibly difficult subjects. And there's no debating her success in that regard.

Both epic and intimate, this impassioned samurai drama is for anyone who's ever watched a movie and muttered, "They just don't make 'em like they used to."

A crushingly dark vision of male rage and female vulnerability, Hélène Angel's accomplished first feature hits you like an anvil -- after it's all over.

The performances are impeccable, and the film’s structural elements are deftly handled across the board.

Jiang's razor-sharp conclusions are less about the Japanese army or the Chinese government than about simple human nature.

The most extraordinary thing about Me You Them is that no one behaves as though anything remotely out of the ordinary is going on.

Plenty of films owe a debt to "The Godfather," but it's rare to see inspiration used as successfully as it is here.

Turns the dangerous monotony of poverty and unemployment into something nearly hypnotic.

Because the film focuses entirely on the women's work, we learn too little about their personal histories. How did they even rise to such prominence in what appears to be an extremely patriarchal society?

There's no question that the film's primary intent is to showcase its stars, but thanks to their perfectly attuned performances, it feels more real than self-conscious.

An urgent, stirring story made all the more inspiring by the very ordinary nature of its subjects.

Despite the movie's intimate nature, Siegel deftly broadens his view to observe the culture and conditions of contemporary American farming. Don't be surprised if, by the finish, you wind up fantasizing about your own rural homestead.

Dropping in amusing anecdotes and tender memories, a deeply reflective Young revisits - and often reinterprets - both his recent and classic work.

Broomfield conducts riveting interviews with a former LAPD officer, Biggie's fiercely protective mother and assorted hangers-on, but the actual thrust of his evidence seems almost irrelevant.

The intimate history of Doug Block's parents becomes fodder for a broader look at family secrets in this complex documentary.

Weary and overworked to her very bones, Dora nevertheless has a heart of gold and a spine of steel. The movie does, too.

The many riveting moments will stay with you for days, and Padilla is well up to the task of carrying this intense story on his tiny shoulders.

Carefully walks the fine line between paying homage to a classic and entertaining a modern audience.

Clearly intended as a reminder that one person can move - or, at least, save - mountains.

Once in a while, a little reality can be a welcome antidote to our increasingly outsized film fantasies.

Mazel tov to Scott Marshall for creating an endearing portrayal of familial lunacy that ought to charm as many Smiths as it will Steins.

The kind of thriller we've seen a thousand times before. Fortunately, nobody told leads, Ryan Gosling and Anthony Hopkins, both of whom devoutly believe they're in another, better movie.

Sauper captures a world in which life and death are treated with equal practicality - and disregard. His camera is unflinching; your gaze may not be quite so steady.

The story's fractured structure - and Christopher Doyle's dreamlike cinematography - make for a striking mood piece.

Pamela Yates' unblinking chronicle of recent Peruvian history paints a devastating picture of a people nearly destroyed by their own leaders.

A charmingly loony tale of two young loners who form an unlikely bond, this droll Japanese import puts the predictable banality of most Hollywood teen flicks to shame.

Ought to suit fans just fine.

Never shies away from either the beauty or the cruelty of the hunt.

Fox stumbles a little at the end, which is unnecessarily exaggerated. He should have trusted his own talent - it's the attention to minor details that makes his work so memorable.

A fascinating, damning picture of bourgeois boredom that manages to be both epic and intimate at the same time.

Rarely has Paris seemed more enchanting than in Danièle Thompson's optimistic ode to Gallic romance.

Watching Tuba's proud girls disappear into anonymous clouds of chadors says more than any political diatribe could, and Bani-Etemad is wise enough to know it.

A lovely little coming-of-age story, this Taiwanese romance was directed by Chih-Yen Yee with a skillful subtlety enhanced by his young cast.

Consistently compelling and required viewing for anyone remotely interested in pop culture.

Bong's primary point is dead-on: Battling bureaucracy, from dishonest government leaders to indifferent civil servants, is the biggest horror of all.

Enlightening and rather unsettling documentary.

The sort of film one should probably see either a half-dozen times or not at all. It's a complex, highly ambitious documentary that aptly reflects its subject, contemporary French philosopher Jacques Derrida.

Both politically intricate and genuinely hilarious, Faat-Kine is a story grounded in dichotomies.

Eye-opening political documentary focuses on "the strange world of violence and fear, fantasy and deception, in which we now live."

Warm and engaging.

With a soundtrack that ranges from classical to jazz to bluegrass, this is not only an obvious choice for ­music lovers, but required viewing for anyone interested in the mysteries of creative inspiration.

This is powerful stuff, offering us not only a new look at the past, but to the unavoidably relevant insights into the present.

Even if this movie doesn't quite hit the highs of its predecessor, it's nice to know that there are still filmmakers ready to respect the eternal struggles of freaks and geeks.

While Enchanted wittily updates traditional tales, it is, in the end, as carefully calculated in its appeal as any movie ever was.

It’s no easy task to find a fresh way to approach a familiar face, but D’Apolito does a wonderful job ushering us through the highs and lows of Gilda Radner’s life.

As stripped down as its title, this gentle Argentinian road movie makes much out of very little.

Dynamite perfectly describes this riveting documentary.

With this moving, contemplative portrait of an artist who has suddenly become an old man, de Oliveira refuses to patronize either his hero or his audience.

It's part grim Beckett-like drama, part joyous picaresque, and all quite mesmerizing.

A powerful drama that turns a common event -- the rending of a family -- into an intimate, personal affair.

Only the most hardhearted would fail to be swayed by Messner's surprising strength, and -- dare I say it -- irresistible charm.

A suddenly vital biography, Make It Funky, pays apt homage to the unique gifts New ­Orleans has given its country over the last century. Watching it ought to inspire anyone to return the favor.

Overly reverent but still immensely touching.

Li's performance is stronger here than it has been in previous films.

A classic Michael Bay mega-movie. Interested in plot and character development? Move along. You're blocking the view.

Likable Lohan doesn't exude the vulnerability that would give the movie true heart, and Fey, head writer for "Saturday Night Live," crafts better punch lines than plots.

Filmmakers Vardit Bilu and Dalia Hagar don't seem as interested in taking sides as they do in exploring universal themes.

Exhilarating.

When these two powerhouse performers come together, a rather predictable tale ignites with surprising force.

The plot is woven from minutely observed details that beautifully evoke a rarely seen world.

The scale in which Fukada works — as both writer and director — is so deliberately intimate that immense experiences feel microcosmic, while tiny moments make a huge impact.

A fascinating capsule of an era long past.

The resulting jolts add up to one unforgettably surreal nightmare. Just be sure your heart can handle any surprises headed your way.

It is the devastating testimony from survivors themselves that leaves the most indelible impression.

Though he's working with an unavoidably sentimental story, Kon embraces the dark underside of his characters' lives, giving this animated film a satisfyingly three-dimensional feel.

Sensitive and thoughtful coming-of-age story.

It will be a long time before you forget the deep pain etched into the weary face of Carmelo Muñiz, the mariachi singer at the center of Mark Becker's immensely moving documentary.

Both Adams and Judd have been let down by Hollywood. Here they have the freedom to express their uniquely Southern takes on music, faith, family and femininity. This intensely personal film may not bring either of them widespread acclaim, but it's a small triumph nonetheless.

While the sequel isn't as unrelentingly gory as the original, there are still rivers of blood.

The film is unabashedly supportive of Father Hartley, presenting him as a stubborn saint, and depicts the wealthy owners as soulless villains. Presumably they have a different story to tell, but we wouldn't know: When the camera's on, none can be found.

A smashing success on its own terms, though as a transcendent love story it lacks the firm foundation in human reality that characterizes Lars Von Trier's superior "Breaking the Waves."

Take us on an indelible tour through the highest and lowest points of the human experience.

As with all of Shelton’s improv-inspired movies, the plot offers plenty of interest but the personalities provide the purpose.

Israeli director Savi Gabizon has created a nuanced coming-of-age portrait that ought to strike a chord with ­audiences ­everywhere.

It's hard to believe Andy Warhol's Factory created enough characters to keep us interested 40 years later, but as it turns out, drag diva Jackie Curtis still has a few more minutes of fame left.

It doesn't get much more romantic than this.

Jasmila Zbanic's poignant drama reminds us that the aftershocks of war linger for generations.

Some stories are more compellingly told than others, but all, like Trank's film, are deserving of attention.

Will thrill those who prefer their violence graphic and their comedy surreal.

Given that so many people have dismissed Ashton Kutcher as a superficial pretty boy, it seems a little ironic that his best work this week is two-dimensional: He makes a passable action hero in "The Guardian," but he's downright adorable in Open Season, a cheerful animated comedy built on his winningly loose voice performance.

Proving there's always a new way to tell an old story, Stephen Chow pulls out all the stops for one of the silliest, sweetest and most fun family films in recent memory.

An ingratiatingly sincere attempt to deal with the complications and contradictions of modern romance.

Jensen tarnishes the lining of every cloud in one wickedly funny scene after another.

Credit Icelandic director Sturla Gunnarsson for having an ambitious vision: He took a look at the eighth-century epic poem "Beowulf" and decided he could cut it down to size. And he has, for better and worse.

Narrated by Nicole Kidman, this poignant documentary tells only half the story of three Sudanese "lost boys" who emigrate to America. Though it doesn't delve as deep as it should, this movie will still break your heart.

As they talk between classes about oppressive husbands, abusive brothers and arranged marriages, it becomes clear that the frivolities Americans take for granted can be their lifeline. In this tentatively hopeful setting, a single lipstick becomes leverage.

Unpolished and clearly made on a low budget, the results seem a little like a home video by someone who spent an especially cool summer vacation.

Providing a tart balance to such enthusiastic admiration, Gehry's own blunt musings on his motivations, revelations and desires prove especially interesting.

Kaurismaki's characteristically minimalist humor and wry empathy make brief appearances, but be warned: His Helsinki is a cold, dark place unfit for all but the hardiest visitors.

The tone is attentive and responsible.

As an alternative to the slick, instantly forgettable fare usually made for kids and preteens, Ella Enchanted brings a little bit of magic to the multiplex.

Arnaud Desplechin's sprawling drama exudes a go-for-broke determination that is frustrating and exhilarating.

The characters may suffer once the bride walks down the aisle, but Bier, Jensen and their first-rate cast work together like a match made in heaven.

Ratner is unable to maintain the emotional intensity that has made this series so deeply epic. But he sure knows how to put on a show.

The Namesake is suffused with radiant grace, and manages to be old-fashioned yet immediate, epic and intimate.

Equally compelling and depressing.

Almada steadfastly reserves judgment, which means we don't learn if there are members of the Mexican community who disapprove of corrido's hard-edged lyrics. But she makes a pretty good case for its passionate fans. Like them, we're left unable to get the music - and the musicians - out of our heads.

Amanda Micheli's candid documentary introduces us to two of these real-life daredevils, and it is a genuine pleasure.

A technical and visual tour-de-force.

A genially mellow, consistently entertaining spoof.

Brodsky's last film before his death is a moving tribute to his career.

The movie's intense focus skillfully exposes the raw pain just under the skin of a seemingly ordinary citizen.

Works on two levels: Goldfinger does a terrific job exploring the broader history of Yiddish theater, while also homing in on the compelling story of the Burstein family itself.

What most interests the directors is the way young minds are shaped by adults with clear moral and political agendas.

Directors Adi Barash and Ruth Shatz do a brilliant job of letting the South African, Israeli, Cuban and Namibian men aboard speak for themselves.

Once isn't especially complex, but the chemistry between its appealing leads (who contribute to the lovely score) feels deeply true. You'd have to look awfully hard to find such sincerity in a Hollywood romance.

it's Van Zandt's family that provides the film's most memorable moments.

An old-fashioned joy.

Aside from some resonant hints that all is not as it seems, the movie leaves it to you to decide where the truths begin and ends. You'll be untangling Dresnok's knotty reality long after you leave the theater.

Corcuera is a deft and determined storyteller, and it's a testament to his passion that we're left wanting to know a great deal more about each of his subjects.

Beautiful, witty and provocative, this is one genre film that ought to appeal to fans and non-fans alike.

What makes the film feel genuine, however, are the performances.

Charming, funny and poignant. But it's also a reminder that if we want an intelligent teen romance, we have to import it.

Nearly every actor has his or her moments of hilarity, but it's the surprises, like Herzog's terrific turn as a bunny-loving sadist, that make the biggest impact.

Director Daniel Burman examines the ways people cope with the passing of time, whether it's weary mall employees, a broken family or the diminishing Argentinean-Jewish community.

The power of this plot comes from the drudgery of daily existence, not shocking revelations or dramatic encounters. Some stories, Teixeira is wise enough to realize, are best left unadorned.

Burman tends to focus very tightly on the details of individual identity - religion, nationality, gender. It is all the more striking, then, that his restrained and unassuming films are wise enough to speak to every adult.

Director Wisit Sasanatieng uses every trick imaginable to create surreal postmodern nostalgia. Has he wound up with pure camp, or a cult classic? As he clearly understands, the best B-movies are both.

While it's a geek's paradise from scene one, newcomers are likely to feel left out until they get their bearings. Fortunately, Whedon's characteristic humanity, coupled with the slyest sense of humor in Hollywood, greatly eases the transition.

The slapstick gets a little too silly, and a rushed ending feels unsatisfying. But everyone whose family boasts an excess of opinions will relate.

Everyone involved, from Marla's defensive parents to the cynical journalists who promoted and then turned on her, seems to have some sort of agenda.

Breillat has made an important, even essential work about the exploitation of young women's sexuality, but is not she complicit as well?

Her update on “Ice Storm”-style suburban ennui feels particularly potent right now, in its vision of a rotting establishment. But in the end, Anders’ deeply-rooted entitlement proves regrettably unassailable.

Thomas does an excellent job exploring the incendiary environment that shaped the band in the late 1960s. His primary interest, however, is simply to express and explain the thrill the MC5 still inspires.

As insightful as it is entertaining.

It's hard to imagine what Akin left unexplored - but here's hoping he'll share his discoveries if he ever returns.

Long stretches go by without dialogue or discernible action. But there are significant rewards for those willing to accept the movie's deliberate pace.

There were a lot of people who came to regret investing their time and money in Park's brash dream. You won't be one of them.

As intriguing and unusual as its title, this anime debut from CGI mastermind Michael Arias bursts with enough ideas for three movies.

Characteristically lacking in narrative -- but what it misses in traditional plot devices, it more than makes up for in passion.

The actors elevate what might have been fluff into a genuinely moving tale, and the action is so much fun that it doesn't even matter if you've seen Molière's plays before.

This sensitive drama will appeal to anyone who has strained against the confines of family - or basked happily in its comforts.

Hits so hard because it feels so real.

Hickenlooper does a nice job blending Bingenheimer's flashy past with his somewhat pathetic present, creating a genuinely compelling study in diminishing returns.

Must be the smartest -- and most disturbing -- movie about parenthood in ages.

Tapping into the basest fears of war while subverting all expectations, director Susanne Bier deftly reads between the headlines.

A charming little valentine to the mysteries of attraction.

It's a must for those who like thrills laced with a sense of humor.

Naive or wicked, idealist or egomaniac: Nothing in Ralph Nader's character is agreed upon by everyone in this fascinating biography - with one exception. And the title says it all.

It's no easy trick to invite viewers into an utterly bleak setting populated by the dissatisfied and small-minded. But a droll script and generally deft direction make the Icelandic chill surprisingly inviting.

A visually lush and eerily enigmatic parable of female sexuality, Lucile Hadzihalilovic's ominous fairy tale raises questions you'll be wondering about for days.

The result is both tragic and darkly comic - in this complex environment, blame and sorrow are locked in a partnership of absurdity.

If Michele Ohayon's absorbing documentary didn't provide the proof, you'd never believe the story she tells about Holocaust survivors Jack Polak and Ina Soep.

A funny and insightful exploration into identity issues we all can recognize.

As good as Nolte is, the relatively unknown Morgan matches him scene for scene. And he's not the only impressive newcomer. Remarkably, this confident indie is the first feature from writer-director Ponsoldt, who shuns any slickness to embrace the rough edges of his low-budget, bare-bones story.

This is a vital history lesson that many of us have missed but few are likely to forget.

It’s a shame that Lessin and Pildes don’t tell us what these amazing women went on to do after the Collective ended. But they all remain, half a century later, passionate and eloquent and thoughtful and fierce.

The real highlight is watching the dancers as they progress from their first, tentative improvisations to the final, complex performance.

If ever a movie could convince the masses to don communal shoes, this is the one.

It's a pleasure to watch a thinking-man's actor like Sinise adapt so easily to this challenge; he even keeps his dignity when forced to participate in the inevitable martial arts-inflected showdown.

It's the next best thing to being front and center.

Takashi is a master of the jagged quick cut and the shocker finish, and his head-spinning story is pumped up with almost more bravado than a single screen can handle.

Travels so deeply into the confusions of female adolescence that you'd never know this deceptively languid British film was directed by a Polish-born man.

The Invisibles is a powerful testament to the remarkable courage of those forced into heroism, and to the exceptional strength of those who chose it freely.

One of the most delightful movies to come along this year.

The town's entrenched racism is impossible to ignore, but the efforts toward change make a compelling history.

The actors seem exhilarated.

Overly polished, but deeply affecting, documentary.

Unapologetically graphic and slightly marred by an artistic awkwardness, this is a rare and worthwhile glimpse into another nation's historical legend.

A thoroughly entertaining animated comedy that's sweet enough for the youngest moviegoers, and smart enough for the most cynical chaperone.

Deftly composed of many small moments, this gentle Israeli film skirts politics to portray a family that is blessedly normal in its internal chaos.

In a feat of truly impressive cinematic finesse, Hendricks manages to capture every possible angle, from below a soaring motorcycle to atop a speeding luger's helmet.

Although we never feel any true connection to the enigmatic actress, there's no denying the inventiveness of Kon's homage to the possibilities of cinema.

It is an excruciating experience. But then, it would have to be. We're watching the distilled essence of war.

Alex Gibney's forceful documentary starts with a single tragedy: the torture of an Afghani prisoner at Bagram Air Base. By the time it's over, he's broadened his focus into a documentary so damning of the U.S. government, it's hard to believe he even got it made.

Fans are, obviously, most likely to appreciate the concert footage that's woven throughout the film. But the most powerful moments come offstage, when we see young audience members burn with the fresh outrage of the newly enlightened.

Anyone who laments the loss of an older, grittier New York ought to adore this affectionate portrait of Greenwich Village restaurant owner Kenny Shopsin.

Smart, spiky comedy upends every traditional notion of love, sex and family.

Though he doesn't break any new documentary ground, Lee knows how to shoot his subjects. Their stories are moving, and their moves are thrilling.

Both enchantingly old-fashioned and daringly modern.

By turns funny, touching and genuinely inspiring.

A poignant, deeply ­intimate history of one family.

From folk festivals to political rallies, Masud never overlooks the cultural and emotional elements of a country at a crossroads.

The sort of independent-film project that could have been disastrous in less-skilled hands. But Freeman's direction is so deft and the performances so natural that her remarkable experiment ends up feeling more realistic than most documentaries.

A fascinating exploration of the mysteries of the artist's life.

Though Army officials vigorously defend the school, after watching so many grim interviews with victims of the school's alumni, agreeing with Smihula's skepticism is finally unavoidable.

Unlike most inner-city stories that come out of Hollywood, this feels like the real thing.

It's not a pretty picture, but it sure is a compelling one.

This is a thoughtful and enlightening documentary about artistic censorship and free speech.

The always reliable Kingsley and Shaw are hilarious, and if the movie isn't quite a triumph, it's still far better than the junk food currently cluttering movie screens.

Though the film does have the modest, human-interest feel of a "60 Minutes" segment, it grows stronger as it goes along.

Note: We're giving this one 4 stars if you're under 12; 2-1/2 stars if you're not...That unwieldy name should give you some sense of Disney's intentions: this is, plain and simple, a consolation prize for all the frustrated fans who couldn't get tickets to Cyrus' sold-out stadium tour last year.

Unlike so many indie films, Michael Kang's gently empathetic debut embraces eccentricity without drowning in its own hip irony.

Frustratingly, though, and not a little ironically, Justman chooses to focus on the new stars when they sing, rather than on the Funk Brothers playing in the background. Just as curiously, he paints a remarkably rosy picture of the old days, overlooking the racism and exploitation the Brothers surely experienced.

Her story (Ganatra) -- and the rest of the gifted, multicultural cast that brings it to life -- represents another step in the evolving face of film.

Winterbottom informs us that, though fictional, his story represents thousands of real lives, and there is a hardly a false note, which makes this both a difficult and exceedingly memorable film to watch.

Both a witty ode to and a poignant lament for the choices we make.

Even as Lau's intentions are to nudge us back into real life, the images flickering on screen continue to hold us rapt.

Manages to tackle some serious issues without sacrificing its inherently sweet nature.

Denis' slow, deliberate style shuns typical suspense techniques, relying instead on something far more effective: a stunning performance by Testud.

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.