Lisa Nesselson

A solidly entertaining, cross-generational two-hander, The Butterfly strikes the right balance between humor and observational bite.

The whole endeavor pleases with its wealth of tiny observations that add up to an affecting whole.

Frot and Deneuve work subtle wonders with their purpose-written roles.

An intense and touching tale of first love set over a six-week period, Summer Of 85 blends the energy of youth with the curveballs of fate in a pleasant, keenly acted package that, despite a tragic core, will send all but the most strait-laced curmudgeon out of the cinema smiling.

Spooky, intellectually titillating and darkly funny picture is definitely the kind of film where the less you know going in, the better.

Desplechin delivers with flying colours thanks to an excellent cast and a sometimes serious, sometimes funny story that never lets up or becomes predictable. [Cannes Version]

A zippy and sardonic feast of bad decision-making under pressure, 11:14 artfully molds the seemingly unrelated misfortunes of 10 characters into a satisfying and consistently entertaining whole.

Turns on an intellectual gimmick in the vein of "Memento," weaving down sinister byways, the better to click with satisfying symmetry.

An intricate, fetchingly lensed tale of historical speculation framed as a plausible thriller.

For all its careful plotting, some viewers may find the exercise ultimately hollow and nasty, but thesps make the experience completely worthwhile.

A well-oiled script is nicely served by a multigenerational cast, a bittersweet and consistently entertaining mainstream comedy that tackles the big themes of Life and Art with unpretentious brio.

While the picture may be too subtle and oblique in places for more general audiences, it remains enjoyable as a sardonic glimpse of unspoken codes at the intersection of politics and business.

Engaging to watch and edifying about just how close Paris came to having rubble at its heart instead of the iconic gothic structure Victor Hugo’s hunchback called home, this thoughtful and meticulous re-creation of 24 incredibly dicey hours is mostly thrilling, despite the occasional groan-worthy line of dialogue or borderline dopey secondary character.

Consistently engaging, non-judgmental and cumulatively powerful two-hander marks a noteworthy feature debut for Israeli helmer Keren Yedaya.

A Cathererine Deneuve-Gerard Depardieu vehicle that leaves ample room for interesting supporting characters, this moody, more-bitter-than-sweet ode to anxiety is intense adult fare reinforced by effective no frills lensing.

Widescreen lensing favors tight close-ups, and multiple shoot-'em-ups are edited with panache.

Companion piece to Teboul's "Yves Saint Laurent -- Time Regained" nicely complements that excellent film but is less riveting as a free-standing experience.

A not terribly creative movie about the creative process.

The daunting logistics and emotional juggling act of child custody and visitation rights post-divorce are examined via spot-on acting and deft helming in docu-styled Children of Love.

Thoughtful cross-generational portrait is full of familiar building blocks rendered fresh by first time feature helmer Eleonore Faucher.

In what is arguably her best performance since "Van Gogh," Zylberstein brings Mathilde to life with grace and fervor.

Hockney designed 11 operas, so buffs will be in seventh heaven here; but docu's potential audience extends to anyone interested in the creative process and life's ironies -- music lover Hockney has gone deaf from a genetic condition that surfaces in middle age.

Modest but spot-on co-helming debut by actress Yolande Moreau (the concierge in "Amelie") and Gilles Porte is beguiling in the slightly surreal vein of the best of contempo Belgian cinema but without the typical nasty streak.

A spy spoof that -- rarity of rarities -- represents a remake actually worth making. Current comic fave Jean Dujardin plays title character OSS 117 as a kind of James Bond crossed with Maxwell Smart.

Excellent perfs and writer-director Francois Ozon's sure, unfussy way with the camera add up to a viewing experience whose richness depends in large part on how much the viewer reads into the human templates on display.

Fine thesping in the service of characters as meaty as they are immoral makes this material a treat for grown up audiences with an ear for sardonic dialogue.

he film’s unexpected narrative elements — including a few shots you’ve never seen no matter how often you go to the movies — make this a rewarding take on coupledom told with satisfying visual flair.

Ripped from the headlines, keenly researched and carefully crafted, this fictional tale has near-universal resonance although some viewers may find it forbiddingly French in that talk, talk and more talk is as plentiful as are distinctive characters and punchy imagery.