Elizabeth Weitzman

Because the movie’s on-the-fly style is as scruffy as its protagonists, it’s easy to underestimate the intelligence and artistry it takes to make something so silly.

It still sounds pretty fresh: politicians scratching backs, loose ladies threatening to talk, careers balanced tremulously on the line

A film as unique as this is a gift that shouldn't be ignored.

Assayas - whose previous work, though noteworthy, never hinted at this kind of ambition - gives the film a journalistic quality, while admitting that only a recombination of facts and fiction could do the story justice. It certainly results in explosive viewing.

(Cusack)'s genius, however, is in his continual ability to be the most likeable of everymen.

The movie's beating heart is the friendship between the women, who had found some sort of happiness by the show's 2004 finale. Now they're all at a personal crossroads and need one another more than ever.

The Zimbalists have unearthed a trove of footage, which they effectively blend with a full range of surprisingly honest interviews. As a result, the story of two individuals expands into a portrait of an entire country, in almost unthinkable distress.

A well-written, sensitively directed relationship drama. In most circumstances, that's all it would be - and that would be enough. But lead Thure Lindhardt pushes the picture into realms of such exposed intimacy, you almost feel like you're dating him yourself.

Director Jillian Schlesinger’s documentary does a terrific job countering everyone’s assumptions. Maidentrip is a clear-eyed chronicle of Dekker’s record-breaking voyage. Think “All Is Lost,” but real, and with a teenage girl instead of Robert Redford (plus a very different ending).

But don't worry if you miss some details; this is the kind of movie that rewards a second viewing.

The cast is splendid, the script quick-witted and the action satisfying.

Even those who adored Alec Guinness as the small-screen George Smiley will appreciate Gary Oldman's perfectly attuned turn as a Cold War spy drawn back from forced retirement.

Lee pushes this joyride into stimulation overdrive, playing with colors and film speeds and surfaces and shadows until it makes perfect sense that a movie should be all about energy, rather than -- well, about anything else at all.

By deftly blending silliness and sophistication, this little movie does its part to stem the technological tide.

These are two middle-aged guys having a good time, by looking forward and backward and, most of all, just by being in the moment. It’s a pleasure to ride along.

Though the Chinese government won't be too happy about it, everyone else ought to be deeply moved by the tragedies Peosay records.

Ultimately, the film is so determinedly evenhanded, it probably won't change anybody's mind. But no matter where you stand, it's likely to leave a lasting impression.

The film leaves us wondering about all the war stories we haven't heard.

The mildly surreal drama doesn't always make sense, but it sure does look great.

Every action scene is a spectacularly choreographed set piece. At one point, Jaa literally fights with feet of fire. Unfortunately, whenever he comes down to earth, so does the movie.

Director Gay deals so honestly with the boys' emotions, it's almost a revelation when compared to Hollywood fabrications.

Toward the finish, the movie takes a regrettable curve into melodrama, but the excellent performances never waver.

Perfectly modulated in its tone and performances, Lawless Heart is content to be a small, quiet film. We could use a few more like it.

What it offers are dozens of intimate moments that feel so true, they achieve a rare kind of grace. This sensitive indie drama was written and directed by brothers - and first-time feature filmmakers.

A must-see both for girls and the grownups who love them.

Troche is most interested in exploring the secret lives hidden inside freshly painted Colonials, and what she finds is that everyone's secret is exactly the same: a crushing inability to connect with the people closest to them.

Samuel Maoz’s Israeli drama Foxtrot is willfully confusing, emotionally chaotic, and occasionally anarchic. It makes complete sense from one angle, but no sense at all from another. In other words, it reflects its subject perfectly.

What Disturbia lacks in complexity, it makes up for in witty jokes, sneaky jolts and a timeless lesson: If you've got windows, someone's always watching.