Frank Scheck

Arriving amidst a tidal wave of overblown and frequently charmless big studio efforts, Sita Sings the Blues is a welcome reminder that when it comes to animation bigger isn't necessarily better.

A fully rounded and complicated portrait of both the man and a company that somehow managed to survive under devastating circumstances.

There is no denying the passion or intelligence of this work, which is meant to be an encouragement to explore the films for ourselves rather than a dry history lesson. On that level, "Viaggio" fully succeeds.

A stylishly made, nail-biting effort that proves consistently engrossing.

Cannily interweaving its personal stories with a vivid depiction of an eco-system on the verge of collapse, Uncertain marks an outstanding feature debut for its documentarians.

Director Beth Harrington packs enough drama, music and history to fuel a miniseries in her thoroughly entertaining and comprehensive account of the Carter and Cash families and their enduring contributions to American music.

Spike Lee's first feature-length documentary is an uncharacteristically restrained effort by this major filmmaker, lacking the intense style and outlandishness of much of his earlier work. But it tells a powerful story simply and movingly and thus serves as an important cinematic document of one of the most heinous crimes of the civil rights era: the 1963 Birmingham, Ala., church bombing that resulted in the deaths of four young children. [11 July 1997]

Even with the interesting historical and individual stories, the doc would have benefited from a more expansive focus. It feels limited at times, both in its small number of personal profiles and the sketchiness with which it delivers the necessary context. There's no denying, however, its passion and conviction.

Beautifully captures the distinctive wit of its subject.

The Farthest ultimately proves a welcome and invaluable reminder, in these budget-challenged times, that space exploration is of boundless importance.

The Sisterhood of Night doesn't fully live up to its promise, with its themes never quite coming into focus. But along the way it presents a vivid depiction of teen angst that feels far realer than the usual exploitive Hollywood treatment.

Fateless is both haunting and poetic. It also is visually stunning.

Anderson and Owen Wilson’s concise screenplay deftly avoids sentimentality but somehow manages to be touching anyway. The former’s astute direction displays an excellent knack for visual as well as verbal gags, and Robert Yeoman’s widescreen lensing is unusually beautiful and textured for a comedy.

Dawson City: Frozen Time could have benefited from judicious trimming of its two-hour running time, and there are times when its wandering focus proves irritating. But, at its best, the film represents a captivating time capsule that delivers a poignant paean to a long-gone cinematic era.

Tragically, The Truth vs. Alex Jones doesn’t deliver any closure. What it does provide is a disturbing reminder that the fight against evil will likely be never-ending.

Pungently atmospheric, brilliantly textured and featuring superb performances from every performer in parts big and small.

An eye-opener that handles its themes in a refreshingly nonexploitative manner.

A terrific cinematic essay that will have a very, very long shelf life.

What distinguishes it are its intelligent, unsentimental screenplay, which only occasionally lapses into emotional manipulation; the assured direction by Yukihiko Tsutsumi; and the superb acting.

Gorgeously photographed by co-director Burke in the beautiful environs of East Sussex, England, this modest but subtly powerful piece of minimalist cinema exerts a haunting spell.

Featuring past and recent interviews with many of the key figures and generous doses of archival photographs and vintage performance footage, Fire Music should be on any serious music lover’s must-see list.

In its poetic portrait of a man whose quest to help others has cost him dearly both emotionally and physically, The Departure proves quietly profound.

Almost unbearably moving at times, Julie Betuccelli's simple but sublime debut feature presents a portrait of maternal love and female fortitude that will reduce the stoniest of viewers to tears.

Moving historical drama brings a fascinating chapter of art history to life.

Michael Apted's landmark films documenting the lives of a disparate group of Brits in seven-year intervals have always been fascinating from a sociological perspective. But the latest installment proves that they are undeniably brilliant cinematically as well.

At once comical and poignant, this offbeat, true-life show-biz tale deserves instant cult status.

An uncompromising portrait of how global capitalism can exploit an area's resources to the point of near annihilation.

A heartwarming and moving adventure that does excellent justice to the classic character.

Particularly adept at chronicling the vague existential aimlessness of a segment of postcollege young adults, Bujalski manages to make his subjects seem simultaneously articulate and socially dunderheaded.

The filmmakers — superbly incorporating a combination of stunning archival footage (much of it previously unseen), dramatic reenactments and interviews with the principal figures — present the harrowing tale in riveting nail-biting fashion, leavened by welcome doses of mordant humor from the incredibly brave volunteers.

Barbershop: The Next Cut, the third installment in the film series, brings the laughs while injecting a serious topical theme that gives it a welcome edge.

What comes through most vividly, other than the human tragedy on display, is the vital importance of war correspondents and the courage and ingenuity they must possess in order to work under such life-threatening conditions.

The low-key Pearl proves all the more moving for its stylistic restraint.

It provides a powerful depiction of the blame-the-victim culture that has so long dominated the national discussion about rape and which only now thankfully seems to be receding. Although there's clearly a long, long way to go.

The sort of film that would be best appreciated in the '70s-era grindhouses that sadly no longer exist, Kung Fu Killer is delicious popcorn fare.

The film devastatingly makes clear the extent of Russia's propaganda meddling, which has particular resonance in light of its recent attempts to also interfere with elections and public perceptions in America and Europe.

The film provides a vivid reminder that even undocumented workers deserve fair compensation from their employers.

Sweet Dreams delivers a rare uplifting story from a country that has seen more than its share of brutality and heartache.

Uses dark humor, incisive characterizations and social commentary to infuse its familiar detective tale with a distinctive flair.

The Love Witch is an expertly executed homage that works brilliantly on its own original terms.

While the pleasures of the brief (65 minutes) Viola are modest, it displays an imagination and stylishness that marks the young filmmaker as someone to watch.

Socrates is a haunting slice of Brazilian neo-realism that marks its tyro director/co-screenwriter as a talent to watch.

This deeply humanistic, profoundly touching work representing independent cinema at its finest should be seen by far wider audiences.

The visual style and the natural, unaffected performances by a talented cast help create an atmosphere of verisimilitude that makes the story all the more powerful. [23 Oct. 1996]

Marked by incisive characterizations and fine performances, Big Words is aptly titled, referring not only to the name of one of its lead characters but also to the torrent of dialogue driving its skimpy but evocative narrative.

Compelling.

Flamenco is a treat for the senses that will delight dance fans.

[A] fascinatingly oddball story.

The results are always visually arresting, while the narrative, even by Maddin standards, is completely out in the ozone.

By the time the film ends and the fates of the various figures revealed, you’re struck not only by the compelling narrative but also by the complex humanity of everyone involved.

It’s a marvelously imaginative conceit that transforms what could have been yet another dryly informative documentary into the realm of art.

Elena is an elegiac cinematic essay that is both haunting and unforgettable.

While the onscreen debate about the issues occasionally proves a bit dry, there's no denying the inherent twisted power of the films themselves.

Although A Man Called Otto never fully rises above its obvious plot machinations, director Forster thankfully applies a fairly restrained, subtle approach. The result is a film to which you ultimately find yourself succumbing even though you never stop being aware that your heartstrings are being shamelessly pulled.

It's easy to see why this deeply thoughtful, self-made diplomat has succeeded where so many others have failed. It's thus all the more poignant that his own demons have proven far more difficult for him to tame than so many of the world's.

While political and social context is kept to a minimum, the darkly poetic images they capture speak volumes about what the miners go through.

Benefits from a fresh angle that will particularly appeal to blues aficionados.

Marshall, a veteran stage director/choreographer who proved his cinematic skills with his television adaptations of the musicals Cinderella and Annie, does a superb job here, beautifully contrasting the gritty storyline with the hard-edged musical numbers.

Be prepared to be emotionally devastated.

Besides his sure gift for incisive characterizations and acerbically witty dialogue, Johnson also displays a strong visual sense, with the film shot and edited for maximum effect.

This autobiographical tale of a 10-year-old boy coping with his mother's severe illness boasts terrific performances from its three leads -- Joe Pantoliano, Marcia Gay Harden and young Devon Gearhart.

The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal.

Considering that it was filmed in bits and pieces over two decades, it's not surprising that 17 Blocks is disjointed in its storytelling, nor that its technical elements are ragged (subtitles are frequently employed due to poor sound quality). But it nonetheless packs a potent emotional punch.

What makes Obsession so fun, and so disturbing, is how it takes typical aspects of dysfunctional romantic relationships to initially comic and then horrific extremes.

Augie relates his inspiring tale in deeply personal, moving terms.

A fascinating account of its subject's self-torture over his inability to stop one of the 20th century's greatest tragedies.

While The Sparks Brothers may be a bit too exhaustive for those merely seeking an introduction to the band, longtime fans will be thrilled by the deluxe treatment.

There is no denying the emotional impact of the story, which is powerfully conveyed in this important, deeply moving documentary.

Beautifully acted by its ensemble of mostly non-professional actors, The Citizen puts a very human face on a topic that has inflamed much of the Western world.

If ultimately the highly talky Saraband comes across as a minor entry in the canon, it nonetheless marks a dignified farewell for one of cinema's greatest directors.

Schickel's documentary, narrated by Sydney Pollack, breaks no new ground stylistically, but it is a well-organized, informative and inevitably entertaining portrait of the man who revolutionized screen comedy and who arguably became the first mass-market, commercialized media figure.

Madtown is an intriguing drama featuring well-drawn characters and incisive dialogue.

The two main characters are both so funny, human and touching that Sunset Story ultimately possesses an emotional quality missing from many similarly themed efforts.

The film handles its admittedly familiar themes in uncommonly sensitive fashion.

Aida's Secrets unravels its complex scenario in compelling, page-turner mystery fashion, proving yet again that truth can be much stranger than fiction.

A deeply dispiriting portrait of the systemic persecution of the LGBT community in Uganda, the country that seems to be ground zero for homophobia.

Shines a much deserved spotlight on this unheralded artist.

Dealing with its potentially discomfiting subject matter with sensitivity, insight and humor, the pic marks an auspicious debut for its director-screenwriter, who also plays a supporting role.

Comprising seven individual films with a cumulative running time of more than 8 1/2 hours, Have You Heard From Johannesburg (the title comes from a Gil Scott-Heron song) naturally will find a more receptive home on television and home video, but New York's Film Forum, presenting it in three parts, is to be commended for giving the series its world theatrical premiere.

Refreshingly free of the tired human-interest personality profiles that afflict sports documentaries on both the big and small screens, director Eryk Rocha has created an impressionistic, visually stunning cinematic essay.

Gariépy, masterful in her emotional and physical exactness, is a revelation as the enigmatic Kelly-Anne, whose stringent control over herself and her environment masks a sick compulsion whose origins we can only guess at.

Serves to not only put a very human face on this horrific condition but also as a triumphant valedictory of Campbell's poignant farewell tour.

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

The resulting journey of self-discovery is not exactly profound in its revelations, but as usual with McElwee's efforts the proceedings are enlivened by his droll, witty narration, delivered in a sonorous tone.

It’s a compelling story told in largely engaging fashion, anchored by Dano’s terrific turn as the eccentric, strong-willed Gill, who becomes an unlikely folk hero.

Dolphin Reef benefits greatly from the gorgeous cinematography and canny editing typical of Disney nature docs as well as Portman's soothingly lighthearted, bedtime story-style narration that turns serious at just the right times.

In this enjoyable if trivial battle between von Trier's psychodrama theatricality and Leth's cool formalism, it's ultimately the viewer who comes out the winner.

The film’s computer-animated visuals, vividly rendering such locales as Cuba, Key West and the Everglades, are consistently arresting. But it’s the joyous musical numbers and sentimental but never treacly tale at its center that make Vivo such a winning effort.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

Celebration ultimately resembles more of a snapshot than a fleshed-out portrait, but it's one that's likely to linger in your memory for a long time afterwards.

A thoughtful and illuminating examination of a provocative subject.

Few films feel as cathartic as James Solomon's documentary The Witness.

Ra'anan Alexandroricz's documentary uses a simple framework - a starkly photographed series of interviews with nine retired judges and lawyers instrumental in administering the often arbitrary laws - to deliver a provocative examination of the nature of justice.

The film is an atmospheric and complex thriller that, while not quite living up to its thematic ambitions, more than sustains interest along the way.

The filmmaker's intent was obviously to concentrate on the specific incident and its aftermath, but personal details would probably have enhanced the overall emotional impact. Nonetheless, 16 Shots is a worthy addition to what has sadly become a proliferating documentary subgenre.

An inspirational film for cinephiles everywhere.

Grippingly depicting the ensuing tensions that constantly threaten to spill over into violence — even while raising discomfiting questions about the scope of First Amendment rights — the film is a nail-biter from start to finish.

It’s ultimately Rickards, who handles the intense physical and emotional demands of her role with consummate skill, that gives the film its heart and soul.