Ken Fox

A sprawling, semi-biographical account of two real-life filmmakers who both found work during darkest days the German occupation.

Shot on reverse film, poet-turned-director Lukas Moodyson's debut feature has a grainy, immediate feel that nicely enhances the story's emotional honesty.

Even if you think you know a little something about world music, Cuba's cultural riches may come as a surprise.

The not-so-incredible story of two girls in love.

From the proposed constitutional amendment banning gay marriage and the president's opposition to the morning-after pill to his pandering to fundamentalist family groups, Cho has all things Bush-related in her crosshairs, and she's taking no prisoners.

As thrilling as they can be on stage, Chekhov's plays have never been the stuff of great movies -- there's simply nothing cinematic about them.

If anyone is to blame for this bomb it's Forte: He wrote the thing, and one would assume he's the one responsible for those uncomfortable silences where jokes are supposed to be.

Dryly funny, deceptively simple road movie that quietly reveals the state of contemporary Romanian life.

Songwriter Jack Johnson's collection of laid-back, sunshine pop tunes unobtrusively support the sweet and surprisingly touching story line, rather than the other way around.

None of this is funny, the surreal touches are ridiculous and the final fantasy sequence, in which the nameless ghosts of the murdered Wiener family smile on Josef, is simply nauseating.

Simply and eloquently articulates the tangled feelings of particular New Yorkers deeply touched by an unprecedented tragedy.

(Tykwer's) unpredictability has become predictable, and the only thing genuinely uncanny here is the unsettling — and unintentional — sense of déjà vu.

Given the serious subject matter, this adaptation of Irish writer Brendan Behan's autobiographical novel is surprisingly light and exceedingly good-natured.

The kind of film only a mother could really love.

There's no getting past the shockingly poorly dubbed voice work of the English speaking cast; Meyer's voice is particularly shrill and grating.

A hoot and a half.

The almost supernatural turn which Kim's lovely film takes during its final act, however, is totally unexpected, and just one reason why Kim ranks as one of the most justly celebrated talents in contemporary Korean cinema.

Barak Goodman and Daniel Anker have done a tremendous job of sorting the facts from a tangle of fictions, and include perspectives from a wide variety of experts and testimonies from a surprising number of surviving eyewitnesses. Together, they do the whole, horrible episode justice, something awfully hard to come by in the state of Alabama in 1931.

Looks great but has a shambolic, off-kilter feel that might not be entirely intentional, and is alternately tedious and shocking.

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.

So silly it's best taken ironically. But the film, much of it shot digitally, is also astonishingly beautiful.

Director Gore Verbiniski delivers the best one can hope for: a cleverly nostalgic, high-tech copy of the real deal.

Aside from the women themselves, the most remarkable thing about Gabbert's unexpectedly entertaining film is how effortlessly it dispels misconceptions about the elderly.

Shot through the bars of a barbed-wire topped cage and staged to a pounding soundtrack, the fight is quite a spectacle, but it's ultimately an empty one.

If a year in the life of a university department head doesn't sound like the stuff of a riveting documentary, please allow this stirring film by husband and wife filmmakers Bob Connolly and Robin Anderson to change your mind.

That the film should have the look and feel of a classic teleplay by, say, Rod Serling, is probably no accident -- the style is one more reminder of just how regrettably short of Murrow's vision we've fallen.

What makes husband-and-wife directing team Jonathan Dayton and Valerie Faris' hilarious debut such a great family film isn't that it's suitable for the whole family (it's not), but that it speaks a simple truth about what it means to be part of one.

fFrst-time feature filmmaker Cam Archer turns what might have been an exercise in salaciousness into a stylish visual poem about desire and adolescent alienation.