Ken Fox

If Israel needs a Mike Leigh to capture the angst of its silently suffering working class, it could do far worse than Nir Bergman.

The music continues to speak for itself. Play loud.

Schroeder's film is a fascinating character study in contradictions and in the end Verges remains loathsome, oddly charismatic and willfully enigmatic.

Mark Orton's overused fiddly score is nice enough, but can't disguise the essential emptiness of overlong scenes.

Cheung gives a revelatory performance.

Innovative sounds and striking visuals combine to form an exquisite cinematic work.

The sheer size of the production dwarfs the human drama.

This far more modest production is a much more interesting film (than "Anywhere But Here").

The film fires off too many intriguing plot possibilities that remain nothing more than that.

Anyone who understands the meaning of the title or catches all the frog references scattered through writer-director Martin Curland's feature debut will have a head start understanding this confused and confusing comedy.

Perhaps more than any war film in recent memory, Kippur is about the actual work of combat.

The film draws careful parallels between orthodoxies and in his own quiet way, Masud, a devout Muslim, level his critique at repressive political regimes and religious doctrines, and those who dangerously confuse one with the other.

It's a handsome production, and a pleasure to watch. With a shadowy palette and a set design reminiscent of Edward Hopper's nocturnes, a soundtrack hearkening back to the sounds of vintage rock 'n' roll, and a cast of characters straight out of a James M. Cain novel.

It's quite an achievement and makes a strong argument in favor of traditional animation — this is the first Disney feature since "Dumbo" (1941) to feature watercolor backgrounds, and they're beautiful. But beautiful illustrations and a funny premise can't save this well-meaning kid flick from its dully plotted story.

Techine's unwillingness to soften his characters reflects a rare honesty about human nature that's rarely seen in movies, particularly movies about fatal illnesses, and his film is an engaging and particularly French character study.

The film works best when it doesn't try so hard, when Salles simply allows his excellent actors and his beautiful images to work their magic.

Once again, Field has crafted and grown-up movie that grabs you by the throat, drags you in and doesn't let you go until the very bitter end.

Unfortunately, the film never really catches fire, despite uniformly high-caliber performances; Day-Lewis, surely one the finest actors of his generation, is excellent.

Remarkable film.

Fans of the genre are in for a wickedly entertaining treat.

An enjoyable, ultimately inconsequential crowd-pleaser.

Levinson brings it all back home to Baltimore and delivers his funniest and most heartfelt film since "Diner."

It never fails to come as a shock to find how profoundly moving it all is when these gentle films draw to their graceful conclusions.

Hamer perfectly captures that post-WWII spirit of better living through science by positioning streamlined Swedish cars and hump-backed trailers against the timeless Norwegian landscape.

The whole lighter-than-air lark whizzes by like a brisk, kandy-kolored dream of the 1960s, flavored by a Saul Bass inspired credit sequence; a slinky, Henry Mancini-esque score; and a stunning array of period sets and evocative locales.

Fascinating on a number of levels, and deeply disturbing through and through.

Presents the salient points of this troubling case with gripping concision.

The drawn-out effect is deliberate -- director Babak Payami wants his audience to concentrate on the characters' inner development and their isolation -- but his strategy slows the film down to a crawl.