Marta Barber

Brutal and devastating.

Despite its flaws, The Gatekeeper will keep you engaged.

Despite its entertaining and insightful dialogue, can also be a bore.

One shallow film, that quickly returns to where it started: Zero.

Though all actors are up to the challenge, it is the plot that makes The Inheritance shine.

A captivating documentary.

Will leave you taking sides, whether or not that was the film's intent.

In House of Sand, shifting sands are not a cliché; they provide the essential emotional and visual elements that make this film memorable.

May disappoint those who expect a more traditional Chinese setting. But, despite its modern look, this is far from being a Western film.

If you like guessing games, don't miss it.

Enlightening documentary.

It is pretty convincing in its argument that China has every intention of destroying the culture of Tibetans.

A film more psychological than passionate, more mental than emotional.

It's all very sweet, but the film goes in too many directions.

A brilliant film by Lynne Ramsay.

There are many nuances to My Mother's Smile, not all of them evenly told. Yet even when the conversations sound absurd, the film never fails to captivate.

Sharp, witty and decidedly different.

What you come to see are the strokes of a visual master. You will not be disappointed.

It is a stunning work that captures with elegance -- and touches of lyricism -- the challenge of finding the man through the artist.

Farmanara bears his soul, and his honesty permeates this work as strongly as the smell of camphor.

Touching.

May not offer anything new, but in its well-tested premise, you can't fail to be seduced.

Cynics may not fall for its melodrama, but Riding Alone is good for everyone else, including children.

Listening to O'Reilly, Anne Coulter and others vilify Franken -- and vice versa -- is part of the dialogue that makes America great.

It is a treat to see Sharif back on the screen and Boulanger is a pleasure to watch. They make Monsieur Ibrahim better than it is.

Bergman's debut feature is tender yet disturbing, sad yet at times funny.

Even the graceful ending, one that lifts the film a notch, is startling. But at the very least, His Secret Life will leave you thinking.

The cast of renegades is as appealing as ever, and you'd only wish that the fictional folks of "Friends" or the cast of "Real World" were so free and nonjudgmental.

Never stops having its dark fun.

The impact of Promises comes from the openness of the children.

Campfire looks a bit drab, perhaps to show the dullness of Zionist life in the 1980s. But this doesn't take away from the poignancy of the film.

With touches of humor throughout, the gentle and peaceful film never becomes depressing or sad.

Fails to capture the anguish and struggles of an ultra-Orthodox Jew adapting to a more secular world as did Amos Gitai's Kadosh, a film this one sometimes brings to mind.

Go for Zucker is far from a perfect film but it brings easy laughter and joy.

As film noirs go, this one is a classic.

Among the invited guests are Sarah Jessica Parker and Julia Roberts. Only one fellow designer is present: Karl Lagerfeld, the German designer settled in Paris.

The beauty of Huo Ji Anqi's film transcends China's lush Hunan province to focus on the peace that comes from within.

What is evident from the film is that there was never any chance these two peoples could make a peaceful coexistence.

A film of rare beauty, lifted by some of the best acting you may see in any film this year.

The War Within is dark and somber, adjectives that describe both the film's look and its message.

Adults expecting intellectual stimulation better skip this one. Not that the Philippe Muyl film is devoid of charm; it oozes it. The story is as predictable as a hot summer in South Florida.

Not an ordinary film.

Ushpizin may not turn out to be as popular as Miracle on 34th Street, but if you believe that miracles can happen, it is a perfect outing during the holidays.

Not the kind of documentary that will appeal to a large number of moviegoers. Yet it makes perfect sense that it will be shown on the campus of University of Miami, famous for its strong medical school.

A fresh breath of air, warmer than the icy village in which it takes place. You'll leave the theater with a wink and a smile.

Though far from perfect -- the film is predictable -- Satin Rouge is a refreshing view of a foreign culture.

The documentary also has a story to tell, and as such it builds up its drama.

In addition to the interesting camera work, the documentary's undeniable appeal comes in how close Longley gets to the characters, who are all male.

While Cacoyannis' film may not be totally faithful to the master's pen, for literature students and theater lovers, this Cherry Orchard is a rare treat.

Sometimes engaging, sometimes amusing and ultimately surprising.

Groening doesn't judge the monks' actions, nor does he tell us much about their reasons for choosing such a life. Yet the film brings us into their lives not as an observer but almost as a fellow hermit, making you realize how hard -- or easy -- it would be to commit yourself to such a life.

If only Beau Travail had a more dramatic edge, this nicely done film wouldn't have felt so long.

Film students should be thankful that companies such as Milestone Film & Video have taken up the distribution and restoration of important silent films, and that universities and museums have decided to screen these obscure classics.

An enchanting romantic comedy between two lost souls in the most unexpected of places.

As the sexual tension builds -- and it becomes intense, culminating in a highly suggestive knife-throwing scene more erotic than if the actors had been having explicit physical contact -- Girl takes you on a thrilling ride.

Ultimately feels like tiny films glued together by events that often test plausibility. The idea wears thin soon, and some of the characters and their tales get lost in the unstoppable domino chain.

The story is worth telling, one that begs the question: Has anything changed?

The star is the coming together of East and West, and how art provides the medium.

Medem may have disrobed most of the cast, leaving their bodies exposed, but the plot remains as guarded as a virgin with a chastity belt. That's why Sex and Lucía is so alluring.

A rather luminous movie on the power of love.

In a cast of wonderful non-professional actors, unfortunately Osama is the weakest. But to be fair, Barmak focuses more on situations than on developing the characters.

But by the time you understand the meaning of its title, Sabiha Sumar's film has delivered an emotional punch.

Deep down, this is a film about childhood dreams and the determination to make those dreams come true. With such a positive message, you can't help yodeling on your exit from the theater.

This is an affair to forget.

Saraband portrays a sad vision of aging, yet the film is never depressing. For those inclined to search for psychological twists, the film offers plenty of Freudian situations capable of provoking lengthy discussions.

Although the unrelenting pursuit of making the Vatican listen becomes a bit tiresome, the portrayals of the two men by Tukur and Kassovitz are engaging.

You feel terribly sad and angry at May's foolishness. Yet with so many emotions at hand, The Mother never fails to engage.

Takes one side, but it tries to offer hope that change can happen.

What strikes you the most about this well put-together film is how little you're drawn to either character or really understand where either is coming from.

Beautiful to look at but aimless as a broken compass.

This wacky, campy lampoon of 1950s Hollywood musicals is not for everyone.

An engaging and powerful portrayal of puberty gone awry.

Admirers of the author will find in Edmond all the elements that turned Mamet into a favorite.

The result is a gripping psychological thriller that, while lacking the power of "Funny Games," is still the work of a master.

Its candid conversations about sexuality are what places Lawrence's protagonist in a class by herself.

The film has good actors and enough quirky moments to keep it interesting.

Cheese is written with plenty of sophisticated wit, but it is not quite convincing as a movie.

Though difficult to understand at times, the language -- a combination of local patois and the characters' particular Indian accent -- is as lush as the cinematography.

The Wind that Shakes the Barley is a multi-layered story, and the more you see those different aspects, the more you'll enjoy the film.

Far removed from being a Hollywood production. There are no big-name actors and no fancy camera work. But that's what makes it interesting.

A warm, funny, engaging film by Patricia Cardoso that realistically portrays the struggles of many first-generation American women.

Although Leconte allows for a certain warmth to run through the film, he thankfully stays away from sentimentality. Therein lays the charm.

Politics in Three Times is as subtle as the stories being told. The film is probably too slow, too silent and too long for most audiences. But look beyond the quietness, and you'll discover a three-gem jewel.

DiG! is raw, just as the band members themselves.

Ceylan examines human relationships with an eye for details and a soul for the big picture.

As with many biopics, Richard is seen as the perfect hero, a man who singlehandedly changed the way the United States treats its disabled citizens. That's a bit of a stretch.

An unexpected ode to peace.

Under the Sun doesn't intend to be dramatic, much less melodramatic. This beautiful film just wants to capture life's simplicity.

Claire Dolan leaves you as unfulfilled as Claire feels after having sex with one of her johns.

Offers a rose-colored picture of life, but one that Campanella makes ring true.

While the story starts tying up its loose ends nicely, as the end approaches, the film turns flat. It's a disappointment.

The intended satire doesn't deliver the kind of punch you may expect, but it nevertheless poses many what-ifs.

Yet even when the bickering diminishes the impact of the story, Wiener himself makes Fighter another interesting story to come out of World War II atrocities.

A good story, but its potential is never realized.

What you'll remember most are a pretty face and the hot and steamy sex scenes. That is not enough.

Despite Fanda's shenanigans, and many are out-loud funny, Autumn Spring is not that uplifting though it isn't a downer, either. It's more an ode to friendship and marriage.

The Iceberg is a riot, a quintessential French comedy with an improbable plot and an unbelievable cast of characters.

House of Fools is not in the category of the director's acclaimed "Runaway Train." It may be based on a true story, but another filmmaker told it before -- and better.