Ken Fox

These three films form a remarkably cohesive whole, both visually and thematically, through their consistently sensitive and often exciting treatment of an ignored people.

A rare treat for anyone interested in the American folk revival of early 1960s.

Lawrence is a comedian with talent who rarely uses it for anything worthwhile, and here he makes a halfhearted, paycheck-collecting effort that's actually in perfect keeping with the rest of the movie's tired, recycled tone.

Somewhere beyond the extremes of "Fatal Attraction" and "In The Company of Men" festers this elegantly composed, outrageously violent psycho thriller.

The results are a harrowingly intimate connection with a torn, tormented father, and an uncommonly powerful film.

Akinshina and Bogucharskij are remarkable together, and Moodysson once again demonstrates a sophisticated visual skill matched only by his innate understanding of the adolescent heart.

There's no getting around the fact that Ross's whole cynical premise is based on the lurid male assumption that nubile, college-bound teens have few qualms about selling themselves, a fantasy as deluded as the targets of Ross's barbed arrows.

Extraordinary documentary.

Who knew marching bands could be so sexy?

Simple but deeply touching documentary.

Chereau boldly risks alienating his audience by presenting serious illness and all its attendant indignities with an unflinching clarity that's becoming a hallmark of his work.

While butching up their hero, Moreton and cowriter Dennis Hensley left out one key ingredient: charisma -- for all his macho swagger, the guy's unbearable.

What makes the film more interesting than it might have been, however, is the warm relationship between Glenn and Peter.

Hugely entertaining, globe-trotting documentary.

However stale the material, Lawrence's delivery remains perfect; his great gift is that he can actually trick you into thinking some of this worn-out, pandering palaver is actually funny.

Scenes are woefully under-rehearsed, and much of the obviously improvised dialogue would seem entirely random if it weren't so repetitive.

Toni Collette's extraordinary performance, Alison Tilson's sensitive script and Ian Baker's sensational cinematography add up to a surprising film.

Stripping away the false glamour generated by pop culture's undying fascination with the Mafia, this hour-long film tells the tragic but inspiring story of a 17-year-old Sicilian woman who risked — and ultimately lost — her life in order to reveal just what a nasty bunch they really are.

Walks such a fine line between what separates dreamer from stalker, that the film he made about it ellicits a variety of responses.

Ends on a cruel, cynical note that would surely make Billy Wilder snort with approval.

It's undone by a murky palette, silly horror-movie cliches, dumb dialogue and a confusing climactic sequence.

Inexpensively shot on digital video, it's an invaluable work of art.

In what can only be described as a throwback to the awkward "gay" farces of the 1970s and '80s -- think "The Ritz" and "Partners -- this painfully uncomfortable buddy comedy trips all over itself to say something positive while still managing to offend. Worse still, it's just not funny.

Filmmaker AJ Schnack's hauntingly beautiful film is a bold and successful attempt to recover the human being who disappeared under the heavy mantle of "face and voice of a lost generation," and whose life has been increasingly overshadowed by his sensational early death in 1994.

Delightful mix of swinging '60s style, road movie conventions and age-old romantic comedy tropes that coasts along on little more than charm, and does it delightfully.

This unusually rich film tackles not only the social structuring of criminality and sexuality but race as well, and explores the ways science has been used to justify the ruthless pursuit of market interests and, eventually, apartheid itself.

By alternating between Jackson's and Kim's point of view, McCann shows both sides of the story: the panicky fear of the paranoid schizophrenic -- the arrhythmic editing and Marshall Grupp's masterful sound design convey a sense of dislocation and shifting reality -- and the bewilderment and frustration of the people who try to help him.

It's a thoughtful and ultimately chilling take on a tragedy that still has the power to disturb and divide.