Ken Fox

Intelligently acted but oddly stagnant adaptation of Brian Morton's acclaimed novel.

Fatih Akin's surprisingly grisly feature spills more blood than both of Quentin Tarantino's "Kill Bill" films combined, which is strange when you consider that it's a love story.

Lee deserves a lot of credit for attempt the same kind of complex story structure Quentin Tarantino made look so easy in "Pulp Fiction": Like Tarantino's interlocking stories, Lee's four segments occur achronologically and come full circle in a neat twist at the very end.

Swinton lends Margaret an air of grace under pressure, and fleshing out feelings of domestic dissatisfaction -- a key element that otherwise remains buried in the subtext.

It all comes down to Nolot's marvelous performance: His Pierre is sulky, morose, self-centered and curiously likeable, and Nolot leaves you wanting to know a bit more about just where this odd figure might be headed.

Groning's approach gives the viewer a rare chance to really listen to what water sounds like when it drips from a tin bowl, or the watch what patterns raindrops make when they fall on a shallow puddle -- purely sensual, cinematic experiences. In such moments we sense the point of view of a patient, sensitive filmmaker.

Im distinguishes what might have otherwise been a standard Hollywood biopic through his use of exquisitely composed shots that could have been imagined by Jang himself.

Fontaine's thoughtful character-driven screenplay is the perfect vehicle for Berling and Bouquet and both are superb. As father and son, they play off each another in fascinating ways as the film moves towards its perfectly modulated, intriguingly ambiguous final moment.

In a rare and inspiring example of the way art can both reflect and alleviate human suffering, photojournalist Zana Briski's wrenching documentary traces her valiant use of photography to help children trapped in one of the most wretched places on earth.

It's both funny and harrowing in the way that only a childhood nightmare come to life can be.

Though extensively fictionalized -- Sorowitch is loosely based on the notorious, larger-than-life forger Salomon Smolianoff; Herzog on SS officer Bernhard Krueger, after whom the operation was named.

With a third-act twist that outdoes that initial revelation, the film turns out to be a thoughtful exploration of paternity and responsibility. Much of the film's success lies in Bier's sensitive direction, but credit is also due to the fine cast, particularly Mikkelsen.

Truly in a class by itself.

Powerful stuff from writer-director Li Yang that's both an uncompromising indictment of the human cost of China's evolving market economy and an nail-bitingly suspenseful thriller.

Fascinating documentary.

Ramsay's second feature is an extraordinary adaptation of fellow-Scot Alan Warner's acclaimed novel.

Martel can barely contain her disgust, and like Bunuel before her, she knows just when to cut the laughs and go straight for the throat.

Hadzihalilovic succeeds brilliantly at crafting a meaningful enigma that somehow grasps the essence of adolescence, but only grows more mysterious with each revelation.

This excellent film, which is both uplifting and troubling, also makes crystal clear what Peter gradually gives up in order to fit in as best he can: His culture.

She's an adventurous, occasionally reckless filmmaker who deploys a full arsenal of cinematic flourishes, but Lemmons' lack of restraint gets in the way of her storytelling.

Hrebejk's film remains clear-eyed and satisfyingly complex right to the bitter end.

Under the beautifully appointed costumes and to-die-for interiors is Breillat's preoccupation with female sexuality and desire, all centered on a blistering performance from a perfectly cast Asia Argento.

You won't see anything quite like it from any other filmmaker working today.

Beesley's film is perfectly in sync with the Lips' unique vision.

But for all the divine touches, FH is no Jesus, or even his son: He's just another wide-eyed American Adam on the road again, a dazed and confused Huck Finn of the highways.

If you don't already have a handle on the complicated conflict at the heart of Darfur's ongoing genocide, you probably won't come away from this harrowing documentary with any comprehensive understanding.

Nearly 75 years after the fact, the matter still hasn't given up all its secrets, but Denis' film comes close to a definitive, deeply disturbing account.

Given the number of characters involved and the fact that the film flashes back and forth over a 40-year period, the film flows beautifully, thanks in large part to excellent casting and Kate Williams's fluid editing.