Ken Fox

Solid and engrossing melodrama.

A smart but disappointingly conventional portrait of an artist who had little use for convention.

Stylish and surprisingly effective thriller.

The real irony is that for all its integrity, the film isn't nearly as thought-provoking as Steven Spielberg's recent "A.I. Artificial Intelligence" or "Minority Report", and nowhere as entertaining.

One of the best movies Hollywood has ever made about itself, a extraordinary meta-narrative that continually questions its own ability to capture human experience, disappointment and uneventful loneliness. It's hilariously funny.

Refreshingly serious look at young women whose relative freedom doesn't mean they're particularly free.

What should have been an important addition to popular films about women's rights winds up being the most insulting courtroom drama since "Ally McBeal" was put out of its misery.

Mohammad Rasoulof's heartfelt and darkly comic second feature proves beyond any doubt that Iranian film is still alive and well, despite waning Western interest in one of the world's richest contemporary cinemas.

At well over two hours it's merely exhausting, and the constant evocation of the fearsome power of "The Lodge," which proves Pat's salvation (Nwamu is himself a Freemason), is as silly-spooky as the White and Black Lodge hokum of "Twin Peaks."

While funny enough, it's essentially a one-joke movie.

Bold and unforgettable meditation on a truly bizarre incident that pokes at the very heart of one of our culture's biggest taboos.

British director Shane Meadows' strongest film to date is also his most personal: A stylish fictionalization of his own wayward youth, spent among a group of working-class skinheads in Thatcher's England.

Against all odds, you'll leave this remarkable film caring quite a bit for the old coot -- surely a sign of a very good documentary.

It was really no bigger than a beach ball, weighed about as much as a full-grown man and it beeped. And aside from transmitting a radio signal and accidentally opening a few automatic garage doors, it didn't really do anything except orbit the globe once every 96 minutes.

An ugly, unfunny frat comedy.

At the heart of this picturesque fable is a truism so shopworn it can barely stand repeating: It's better to give than to receive.

What's most offensive isn't the waste of a good cast, but the film's denial of sincere grief and mourning in favor of bogus spiritualism. Only devotees of Ouija boards and TV's "Crossing Over" will find anything of merit here.

(Bassett's) finally been given another part worthy of her talents, and she makes the most of it.

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

"Queer as Folk's" Peter Paige makes a strong debut as a writer/director with this original black comedy.

Pitch-black and bound to offend anyone who's not on its wavelength, Nick Guthe's entertainingly slick debut is a mordantly funny slice of lust, crime and sleaze life set in the world of L.A.'s industry elite: Call it 9021-noir.

Whether you conclude that this project is a brilliant hoax that exposes how the rapid transition from communism to a free market economy has created an ad addicted, consumer-mad culture in the Czech Republic, or simply a cruel joke, one thing is undeniable. It's a fascinating account.

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.

What is grating is the filmmakers' perennial tendency to underestimate their audiences; their lack of faith leads them to drive home each nuance with a hammer.

Not much happens on the surface of Hou Hsiao Hsien's latest film...Nevertheless, it can break your heart.

Austrian auteur Barbara Albert uses complex mathematics, chaos theory and the music of Dutch pop sensation A-Ha to explore the connections that link a group of disparate characters.

The very definition of sentimental overload. It's also impossible to resist.

There's little difference between this joyful holiday film and the standard-issue yuletide-miracle movie, except that the holiday isn't Christmas.