Frank Scheck

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.

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.

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.

Should attract some interest in urban theatrical situations before settling into cult video status.

The Happys never manages to find a consistent tone, awkwardly blending broad comedy with serious emotional moments that don’t come off. It also attempts to weave in serious discussions about sexuality and ethnicity in Hollywood, generally via stilted dialogue exchanges in which the themes are explored in boldface fashion.

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.

While Imperfections lives up to its name with its too clever by half plotline and failure to find a coherent tone, the indie film features enough enjoyable moments to overcome its flaws.

While this cinematic adaptation of W. Glasgow Phillip's acclaimed 1994 novel isn't wholly effective in handling its complex storyline, the film offers compelling performances by its two leads and enough provocative elements to make it worthy of attention.

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.

Unfortunately, for all the debuting filmmaker's talent for creepy atmospherics, I Trapped the Devil feels draggy and attenuated even with its brief 82-minute running time including credits. Despite some good performances, the film goes nowhere, and very, very slowly.

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]