Ken Fox

Excellent performances from Jacqueline Bisset and Martha Plimpton grace this deeply touching melodrama.

Moncrieff offers a rare, unromantic take on female adolescence as sharp as a razor: It cuts right to the bone.

It offers a rare opportunity to watch a world-class playwright bringing one of his own works to life; rarer still, Almereyda puts his notoriously reticent subjects so sufficiently at ease that they actually sit down and discuss their craft.

The film is a trifle long too long for its rather slim mystery, but in face of so much beauty and invention that's a small quibble.

Offers what her fans came to expect from the "Jezebel of Jazz": great music.

A welcome introduction to yet another facet of an artist who continues to beguile well into her seventies.

Dunn's elegant, full-length debut presents a frightening and powerful argument against the kind of reckless, profit-driven land development that not only threatens natural resources, but life itself.

Expansive and undeniably brilliant.

This strange and beautifully expressive film set in a remote Mexican canyon has nothing whatsoever to do with Japan, but its themes are as universal as they come.

It's a great part for a great actor and Cheadle does a magnificent job turning this living legend back into flawed, flesh-and-blood reality.

The result is an interesting hybrid of neorealist grit and star-driven melodrama, in which very real concerns about poverty and social injustice are mixed with a romantic subplot.

The movie more than compensates for its biographical deficiencies with thrilling footage of a recent reunion concert which finds the Funk Brothers still in top form.

It's a great achievement, quiet enough to allow room for her excellent supporting cast -- but strong enough to be felt over James Horner's omnipresent, typically overbearing score.

The film is marvelously acted all around, and the fact that there isn't a false note in the entire film is especially impressive given Kureishi's melodramatic contrivances and the fact that his characters are clichés whose behaviors are predictable at nearly every turn.

What Guttentag and Sturman gain in dramatic immediacy, however, they lose when it comes to historical context, and the chance to offer insight into why such things occur in the first place -- and continue to happen today -- is lost.

It's mostly very crude, often very funny and a little bit smarter than you might otherwise think.

The film is a shattering experience fueled by Jentsch's electrifying performance.

A little too derivative of much better movies to succeed on its own. However, in the context of recent Chinese movies, it's a pretty amazing piece of work.

Dryly funny, deceptively simple road movie that quietly reveals the state of contemporary Romanian life.

Bardem's performance is simply shattering.

A well-crafted potboiler from start to finish.

A fine, straightforward tribute to a sports giant who faced blatant prejudice and paved away for the likes Jackie Robinson, Hank Aaron and other minorities who dared make a place for themselves as heroes of America's greatest pastime.

The audacious finale, which plays out in a wholly symbolic realm, will leave even the most adventurous moviegoers scratching their heads. See it with a friend; you'll appreciate the second opinion.

"We're not that different, but we're different from what you think we are," says 16-year-old Ebony, and no playwright could have said it better.

A sleek and sublimely deadpan comedy of Japanese corporate manners.

There's enough information packed into Paul Devlin's documentary about the woes besieging the former Soviet republic of Georgia for two movies.

The excellently translated subtitles retain the wit and flavor of the brisk, at times even hardboiled, dialogue.

Director John Crowley and screenwriter Mark O'Rowe's follow-up to their feature film debut "Intermission" may follow an all-too schematic flashback structure, but the film is too brilliantly acted for that to really matter much.