Ken Fox

This touching documentary is many things at once: a fascinating biography, a gorgeously shot travelogue, a provocative disquisition on the relevance of architecture and, above all, the record of a son's poignant search for a father.

But if you stick around for those final credits, you'll also have the opportunity to hear Robin Williams deliver a clean but nonetheless hilarious joke, a reminder of how funny Williams can be when he's not trying so hard.

Best of all is Tsugumi's wild performance.

Not many films have the power to change how one sees other people, but this remarkable anthology of loosely connected shorts from writer-director David Riker just might.

There are no two ways about it: A chubby-cheeked dummy doing stuff it shouldn't be doing is spooky stuff. But Wan isn't on such sure footing with his actors -- Wahlberg is stilted as the tough-guy cop, and Kwanten is blandly uninteresting.

An intelligent, imaginative children's adventure refreshingly free of rapping cartoon animals, fart jokes and mind-numbing special effects.

First-time director Mark Milgard displays enormous promise and a surprisingly sensitive touch with this beautifully rendered tragedy.

Derivative, indifferently acted, artlessly photographed and awash in nudity and rudimentary gore effects, this direct-to-DVD feature mars the producing debut of longtime horror and exploitation distributor Media Blasters.

Jonathan Demme gets personal with this affectionate tribute to courageously outspoken radio broadcaster Jean Dominique, the pro-democracy advocate whose unflagging support for president Jean-Bertrand Aristide eventually cost him his life.

Begun over seven years ago and described by the filmmaker as a work-in-progress, the documentary still feels a bit incomplete.

Levinson brings it all back home to Baltimore and delivers his funniest and most heartfelt film since "Diner."

The film becomes a complex tissue of intersecting lives, but Gleize handles each developing story with amazing ease, and the fabulist touches are the icing on a very tasty cake.

The film is ridiculously overplotted, and very little of the plot serves any purpose other than to motivate what you can pretty well guess is going to happen from the outset.

The film's real strength lies in two excellent performances, from veteran Morse and up-and-comer Gosling.

Though absurdly criticized for being too "white" to play Mariane Pearl, Jolie gives an excellent performance. She portrays Mariane as gutsy, smart, passionate and highly efficient.

It's a good thing that Cummings and Leigh have such talented friends: They may overstay their welcome, but it's the entertaining guests who end up saving this poorly planned party.

Seriously sexy stuff from -- surprise -- the former-Soviet Union.

Even when the script takes a turn for the chatty, there's always something pretty to look at.

An entertaining, insightful and handsomely illustrated "Freud for Dummies."

Everett remains a perfect Wildean actor, and a relaxed Firth displays impeccable comic skill.

Dreams With Sharp Teeth Or, Why is Harlan Ellison so gosh darned angry?

We don't learn too many specifics of Smith's brilliant career, and only a die-hard fan will find all of it vitally interesting.

If the banter lacks the often brilliant and erudite -- if showy -- sparkle of its predecessor, the acting is still first-rate, and the film will be best enjoyed by fans eager to spend another 90 minutes with a group of old friends.

A riveting account of one of the most extraordinary events in U.S. immigration history.

Unpredictable and hugely entertaining.

While incontrovertibly light compared to contemporary master of melodrama Andre Techine's best work, this 2005 romance is best enjoyed as the welcome reunion of two of French cinema's most beloved stars.

It's a complicated plot, but one that leaves plenty of room for everything a fan could want: gunplay, swordfights, brutal mano a mano fisticuffs, motorcycle races, car chases, Japanese gangsters eating sushi off of topless women, and that old standby, a decapitated head in a box.

In the grand tradition of "Beerfest" and "Bladels of Glory," this insistently ludicrous -- and not entirely unfunny -- two-joke comedy satirizes an old Hollywood standby: the big-comeback sports movie.