Jami Bernard

Another perfect little gem from Iran in which the simplest story unleashes a torrent of emotion.

Presents a refreshing appreciation of Chaplin's work in the context of comedy, political and social satire, and history itself.

The inexplicably terrifying ending is good for a month's worth of nightmares -- no small thing for a movie in such a saturated field.

Here, Noyce lets his camera, the geography and the youngsters tell this exceptionally powerful story.

This could be a documentary about reading the body language of childhood.

Pai is resourceful and in harmony with the natural world in a way that will charm and enthrall young viewers.

It's a poignant, realistic depiction of the ­elderly, far from the typical view of them as quaint and useless.

By turns silly and amazing, a mishmash of Kubrickian devices accompanied by a steady Spielbergian drip of sentimentality.

A slice of life that adds up to exactly the sum of its parts, no more, no less.

With destitute and disillusioned Mexican laborers much in the news lately, Star Maps is timely, and Spain is effective and affecting in the lead role. The movie's efforts at realism, however, are undermined by a cast of scenery chewers starved for attention. [23 July 1997, p.45]

The result is an undeniable and effective authenticity.

Annaud is a filmmaker who often works with a bare minimum of dialogue. Yet his storytelling is so strong and emotional that words are barely necessary.

Haneke has made a masterly, disturbing movie.

When it comes to cute, this baby is off the charts.

A gentle, soulful comedy about everyday dreams and what it takes to make them come true.

A feast for the eyes. But not, alas, for the ears.

When director Stephen Frears worked with (Jack Black), he must have yelled "Let 'er rip!" instead of "Action!"

Behind the inspired wackiness is a story about how our warlike nature needs some changing before we can all live in relative harmony.

Nachtwey's pictures tell a tale of grief and suffering, and Frei's you-are-there approach gives those photos startling immediacy.

Noir has never been this bright.

The book has been altered in mostly reasonable ways to suit the needs of the screen, but what it loses in the translation is invaluable in comprehending what led someone to pick up an ax and wipe out two-thirds of an island's population.

Hell has not yet frozen over, but here's something equally unexpected: David Mamet has made a G-rated movie for adults.

This movie is not of a style that will speak to general audiences. It is nearly wordless, spare to a fare-thee-well.

This audience-pleaser is smart and acerbic. Jaoui has an uncanny ear - as director, co-writer and part of the inspired ensemble cast - for human foibles, self-deception, celebrity worship and female body issues.

The requisite set piece, which will remind you of the treetop sequence in "Crouching Tiger," involves a fight atop a forest of burning poles, exactly the kind of thing you want in a movie like this.

Despite its rare look at the tensions between religious and secular soldiers in a settlement on the occupied West Bank, it's a pretty static, by-the-book drama that would be insufferable without the sullen heat of Tinkerbell and Avni.

The movie's pleasures are spare, and will appeal mostly to die-hard Rivette fans and viewers with slow pulses.

Furiously paced.