Ken Fox

A clever, ingeniously animated film filled with many shining moments.

A deeply personal coming-of-age story steeped in heady nostalgia and all the creative myopia that too often comes with it.

It can hardly be called a children's film, but a masterpiece of feature-film animation for all ages.

Builds so gradually you probably won't realize it's a near-masterpiece until it's over, but there are hints along the way.

An entertaining road movie with a topical point: The three passengers on this cross-country trip are U.S. soldiers who've just returned from Iraq.

The film could easily be reduced to a parable of post-Communist Eastern Europe, but the allegory digs deeper into the very order of things, exemplified by 17th-century musicologist Andreas Werckmeister's arbitrary imposition of a "tempered" tonal system over naturally occurring tunings.

Amalric is extraordinary, creating a character literally without moving a muscle.

Each frame is exquisitely framed, the acting is superb -- Abedini deserves to be a star -- and the impermanence of the lives of displaced Afghans is hauntingly expressed.

If one masterpiece were to emerge from the recent glut of generally good quality Japanese horror movie, this chilling apocalyptic ghost story from Kyroshi Kurosawa is it.

This exciting, ultimately bittersweet, film was shot cheaply on video, but is nevertheless filled with moments of artistry and invention.

A marvelously entertaining, deeply moving treatment of a highly controversial practice: female genital mutilation.

Not only is it a reintroduction to a fascinating culture that has survived 4,000 years in a remote and most inhospitable climate, but it's also the first film ever directed by an Inuit filmmaker and featuring an all-Inuit cast.

It can be funny, but the humor is too often based in stereotypical perceptions of Asians (they're short, they're laughably polite, they eat weird food), and Coppola shamelessly invites us to laugh along with Murray's character, who, believe it or not, thinks it's hilarious when his hosts get their "r"s and "l"s switched.

Stylish and surprisingly effective thriller.

Denis dispenses with most of Melville's hefty Christian symbolism in favor of the story's other great theme -- repressed homoerotic desire.

This mordantly funny, emotionally piquant depiction of post-adolescent angst also has its roots in the graphic novel format.

The movie belongs to the fifth-billed Bishil, a truly gutsy young actress who captures the essence of young female desire in all its adolescent confusion.

The strangest thing about writer-director Paul Thomas Anderson's unusual romantic comedy is how much of it is based on a true story.

The accents are thick and the soundtrack noisy, but even as the screen explodes in chaos, Greenglass maintains a solid grip on the story.

Focusing strictly on stripped-down performances of great music and the charming chemistry between the two leads, it's a perfectly realized yet unassuming movie that deserves to find a big audience.

One of the most harrowing, viscerally upsetting films ever made.

Never less than gripping.

The French-language voice cast is first-rate, although the film will also be released in the U.S. in an English-language version featuring Sean Penn, Iggy Pop and Gena Rowlands in addition to Deneuve and Mastroianni.

For once, Carrey is more than merely tolerable. He's actually good, and the film that ebbs and flows around him is something you won't soon forget.

Rarely have six hours spent doing ANYTHING seemed so rewarding.

If you have the stomach - or the Dramamine - it's a touching, humorous take on Jewish life in contemporary Argentina.

A tense and tightly plotted fictional thriller is based on real tactics used by the Stasi -- East Germany's secret police force -- to spy on and interrogate their own citizens.

The film runs 95 minutes, and you'll be holding your breath for most of them.