Ken Fox

This hilariously low-key film is punctuated by inspired wish-fulfillment fantasy sequences filled with pro-Palestinian imagery that would be taboo in a western film.

With its flashy, music-video style edits, rock-scored montages and septuagenarian cast, it’s hard to say who, exactly, is the right audience for this unusual comedic drama.

Like the film's giddily intoxicating cannabis hybrid, Rogen and Goldberg's script cross-pollinates Cheech-and-Chong style stoner comedy with Tarantino-esque ultra-violence.

There's enough information packed into Paul Devlin's documentary about the woes besieging the former Soviet republic of Georgia for two movies.

This film represents a perfect match of filmmaker and material. Akerman's fondness for long, static takes and circular, recurring dialogue perfectly suits the maddening repetitions that set the tone of Proust's darkest work.

The all-too-vivid simulation of terrorist attacks, including a prolonged scene of a building collapse in which people are seen plummeting to their deaths and crushed under falling concrete, may strike a very different chord with post-9/11 American audiences.

This quirky, uncommonly intelligent adaptation is a strange delight.

It's a shocking story, made all the more so by the film's final revelation, an outrageous allegation no one even bothers to deny.

Ten tumultuous years in the history of the gay rights movement serve as the backdrop for this warm, engaging romantic comedy.

The film is marvelously acted -- the Bolger sisters are a delight -- and Sheridan captures New York City's crazy energy as only an newcomer can.

Using long takes, largely improvised dialogue and an increasingly out-of-joint time frame, Van Sant chronicles the final hours of fictional but Cobain-like rock star Blake.

Far from the sentimental drivel you might expect given the subject matter, this amiable and heartfelt drama about an adolescent boy's attempt to rouse his comatose mother explores the meaning of faith by tapping into the original, rebellious spirit of Christianity.

With all the glossy sex, you'd be forgiven for thinking Zalman King was directing, except that even King knows you don't need such a ludicrously complicated plot to show pretty people having sex. Each character is so burdened with gratuitous back story that it's exhausting trying to separate the grain from the chaff, until you realize none of it matters at all.

Once LL Cool J, easily the film's most magnetic presence, is out of the game, the whole thing falls apart in a hazy, confusing mess.

Unpleasant stuff, and Clark pounces on the material with his usual relish and a discomfiting combination of moralizing and prurience.

Formulaic film recounts the tumultuous birth of Israel.

wWhat doesn't entirely succeed as convincing psychodrama makes one hell of an acting exercise (it's great fun to see great actors purposely mangle the Bard's immortal words), and Levring's cast -- McTeer in particular -- run with it.

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

Sectioned neatly into chapters with titles like "Mon petit frere" and "Ma mere," the film is perhaps a little too rigid, even by the conventions of road movies.

Slow but charming film.

Cassavetes' instincts are spot-on, particularly when it comes to casting Timberlake in what turns out to be the most important role in the film. He manages to be both reprehensible and deeply charismatic, and winds up stealing the picture.

This strange and beautifully expressive film set in a remote Mexican canyon has nothing whatsoever to do with Japan, but its themes are as universal as they come.

Homelessness is all too familiar to many inhabitants of the world's wealthiest cities, but rarely has the situation seemed so hopeless, or its victims so desperate.

Well-acted first-feature.

The subject matter is certainly controversial -- it's not every day that we see a sympathetic portrayal of a pedophile -- but Cuesta avoids the taint of salaciousness, thanks in large part to a brilliant performance from Cox.

Even adventurous moviegoers who are familiar with Bruno Dumont's previous features...may be taken aback by the intensity of this shocker.

The game cast does what it can -- it's a good thing Schreiber is naturally funny -- but the situation is hopeless. This is one wreck better left unexplored.

There are moments of such breathtaking grace and artistry that you'd be forgiven for thinking you're watching the most beautiful movie ever made.