Ken Fox

This small, sweet drama from Chinese director Wang Quang An is picturesque, romantic and unexpectedly droll tale of life in one the world's most remote regions.

A thoughtful, unsparing look at a controversial subject: suicide bombing.

Eason balances the clichés of a fairly standard story with convincing realism and a powerful momentum that never flags.

Serves as a powerful tribute to a group of heroes who gave those they saved something nearly as valuable as life: proof that the best of the human spirit can endure even through the worst of times.

Working from a script by TV actor Dylan Haggerty, Araki manages to capture what he's been trying to say all along about the lives of the stoned and indifferent with the kind of effortlessness those earlier attempts sorely lacked.

Important, awareness-building documentary.

The film is a pleasant breeze that refreshes, mostly because it's a rare, thoughtful comedy clearly intended for grown-ups.

The period detail is evocative, Watson and Etel are particularly good, and baby Crusoe -- a computer-generated image seamlessly woven into the live action -- is a slippery little star in his own right.

More gripping than anything on Court TV and unexpectedly uplifting.

Razvi, once a pushcart vendor himself, is particularly good; he brings a visceral poignancy to a character who comes to represent every desperate soul who ever tried to make it in the land of plenty.

This breezy romantic trifle isn't nearly as clever as it imagines itself to be, but it's smart enough not to take itself too seriously.

The always charming Deschanel manages to rise above most of the film's logy pretensions, but the usually excellent Clarkson isn't so lucky.

Moviegoers expecting a conventional sci-fi fantasy will be disappointed; Haneke never explains the vague disaster, nor does he offer any definitive solution.

The film is content to relentlessly scream "Boo!" behind the audience's back rather than provide any real thrills.

Unlike, say, David Cronenberg, who manages to establish a crucial, critical distance between his audience and his schizophrenic protagonist in his adaptation of Patrick McGrath's similarly themed "Spider," Carrere re-creates the insane mind through his camera, and diffuses his point about subjective experience by inadvertently raising questions about truth and the movies.

The cumulative evidence that genocide could not have occurred without the cooperation of the German army is overwhelming.

If it's all supposed to be in fun, why does it feel so much like an insult?

It's an unexpectedly powerful little film that manages to say a lot of what, despite all the talk on the subject, isn't being said in the national debate on immigration.

It is fragmented and episodic, and many of Bukowski's best bits are oddly truncated.

Even during the most intense moments, it's hard to shake the impression that the conspicuously buff-and-polished Justine is only visiting this drab world, her miserable life an interesting career move.

All that menace is simply decorative, and it's disappointing that Laconte never properly addresses the intriguing sexual undertones (like voyeurism, exhibitionism and sexual obsession) he uses to darken the film's palette.

Cruise is downright scary. It's the creepiest -- and most entertaining -- performance since his unforgettable appearance in that Scientology video.

After nearly a decade of duds, Wes Craven reasserts his claim to being a master of suspense with this solid little airborne thriller.

Peter Askin's powerful documentary serves as an important reminder of our First Amendment rights, and a tribute to one man who fought to preserve them in the face of Congressional intimidation.

There's a hilarious performance of a "de-fascisized" version of Beethoven's "Ode to Joy," and the soundtrack prominently features an Italian version of the crypto-fascist girl-group classic "I Will Follow Him," a joke Kenneth Anger first made in "Scorpio Rising" that's still funny today.

Make sure you catch this spooky and strangely moving portrait of this highly unusual artist while you can.

An effectively macabre and fiendishly entertaining tale of lust, unrequited love and the fine art of taxidermy.

Narrated by Lily Tomlin and featuring a bevy of in-the-know interviews, this exceptionally entertaining documentary from filmmaker Craig Highberger shines the footlights on Jackie Curtis, an Andy Warhol superstar who transcended the Factory scene and proved to be rather exceptional himself.