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.

Even in its most tedious scenes, Russian Ark is mesmerizing.

That the film avoids the conflicts making the daily headlines out of Israel is one good reason why James' Journey, though not very well made, is interesting.

A Frenchman may have thought of the story first, but this Korean film pays tribute to the original while perfectly standing on its own.

The biggest appeal of Passionada is Sofia Milos, a sexy actress who commands the screen in every scene she's in.

There's a timelessness to her character that makes her real even today. And in Devos' intense portrayal, she's a woman you admire.

The filmmaker may not appeal to large numbers of filmgoers. But if you get his humor and delicate style, you'll enjoy his latest work.

Many questions remain purposely unanswered: Where was the father for 12 years? Why did he want to go away with the kids? What's in a box he finds hidden in the island? Yet, in a remarkable ending, the boys discover their feelings.

In Spanish, the title of the film, El abrazo partido, translates into ''a broken embrace,'' a more fitting description of Ariel's feelings for his father.

Dark Blue World's warm story and beautiful photography almost hits the mark, and it has a great ending.

The film never lacks dignity. Fateless doesn't look at life at the camp like Roberto Benigni did in "Life is Beautiful."

The Ninth Day is far from perfect, but is still thought-provoking and intriguing, a film that can begin its own kind of debate.

You may be drawn to Intimacy's graphic scenes, but you'll emerge convinced there's more to life -- and the film -- than sex.

Unfortunately, the film is also at times dull, though the scale definitely tilts toward enjoyment. Quality balance aside, who doesn't want to enjoy a few hearty laughs? Only Human provides a few of those.

Mildly engaging.

This is nothing that a good episode of NYPD Blue hasn't shown myriad times.

Is it about a moment in history and how the life of a sexual predator fits into that moment? Or is it just about a director's sexual fantasy? The answers are somewhat fuzzy.

Watching a film about an opera can never be as moving as watching the real thing in a great opera house. Musical purists may object to certain details, and film buffs may find the concept unappealing. Yet, for this film and opera lover, Jacquot's Tosca is a treat.

For Americans, the film may be best taken as fodder for debate, especially for individuals interested in sociology. You wonder why those people stuck to the commitment. You may also wonder how different a parallel American film would've been.

The film is art in all its visual splendor, and no matter how confusing the historic story line may be to Westerners -- and it is -- the images on screen more than compensate for the faults.

Some scenes drag, but Seagull's Laughter is still delightful.

Bertucelli nails it.

The Lady and the Duke is not about the revolution. It's an intimate story of a woman's perspective during a dramatic event in world history.

This Israeli film gives us an honest look at situations we never see in the news. It may have too many flaws to be a good film, but for its content, it is a winner.

Simple and austere, The Cuckoo also draws from the mysticism of tales of gnomes and other creatures who inhabit remote Nordic lands. It is that blend of reality with allegory that delivers the film's beauty and charm.

This is courtroom drama at is best, especially when you listen to the sublime soundtrack.

Despite its stylistic flaws, the acting and the magic of the story make Maelstrom a different kind of film.

Fast, frantic and furious, but it is not steadily funny. While not boring, it is too light to be taken seriously.

What appears to be the thrust of the story -- the unraveling of a society -- loses out to a tame, romantic triangle subplot.

An extraordinary movie that ruffled many feathers when it first came out. Almost 40 years later, it retains the poignancy it delivered back then. Its message is not lost in our present state of affairs.

One thing that strikes you as you watch Shanghai Ghetto is how little mingling there was between the Chinese and the Jews.

Had the film been more balanced, it would have added a new star to the recent wave of remarkable Mexican cinema.

Nothing in it -- plot, dialogue or character development -- reaches today's standards of filmmaking.

Doesn't stretch beyond the typical, period drama the Brits do so well. It is no more than a warm cup of tea on a chilly afternoon. The reward comes in seeing these two great actresses at work.

Holds enough interest throughout to keep you entertained -- unless you're afraid of mice.

May not be a work of fiction but, despite its many minutes of real footage, it is far from being a documentary. Lack of truth in advertising notwithstanding, the story of this Colombian cowboy deserved to be told.

A mesmerizing documentary about the rise and fall of a drug lord, perhaps the biggest there ever was.

Unlike “Amélie,” Love Me If You Dare will not become a sleeper. But neither will it make you go to sleep.

For all its tumult, The Clay Bird mostly concentrates on its likable characters, all acted with the kind of understatement that makes a good film better.

As a war drama, Zelary is as gentle and pastoral as its setting. At times, you think it's a new chapter in "The Sound of Music."

Though beautiful at times, it doesn't reach the level of poetry of either de Sica's "Thief" or Lou's "River."

The touch of sharp and edgy storytelling has returned to French master Claude Chabrol.

Far from perfect, but for those willing to laugh at the darker side of life, especially Latin American life, it is fun.

Strong acting from Khoury saves the weak storyline.

In between all the emotional seesawing, it's hard to figure the depth of these two literary figures, and even the times in which they lived. But they fascinate in their recklessness.

An engrossing psychological thriller.

The Bank, despite its faulty finale, is a fun and thrilling ride.

Who would have thought a German comedy could be light, charming and devoid of intellectual snobbery?

Though the film would benefit from further cuts, Machuca still manages to convey the frailty of convictions and the difficulties of growing up -- be it a child or a nation.

Puts you on edge about what goes on behind the closed doors of the White House. Even if the case against Kissinger is not fully convincing, the documentary keeps you glued to your seat and thinking long after you've left the theater.

You come out with a sense you've seen it all before.

There's something to be said about an old story given a new ending -- and making it work.

Going Shopping can make a wonderful outing for girlfriends. It's fun.

The film has a rather charming way of convincing you that there are times to shrug off the caviar and champagne and go for a fulfilling bowl of spaghetti.

Captures the essence of the period -- an intriguing, backward era in Spain -- but without the emotional impact that such a film requires.

The events in this film take place in the 1980s. Let's hope working conditions in Japan have "westernized."

Has an elegant feel, with beautiful shots on the beach and engaging camera work. If only Philip Jayson Lasker's writing could match that.

The film's concept is so absurd and Hamer goes about developing it with such a regimented structure that you have to believe that the filmmaker is poking fun at himself and the world he knows well.

There are few moments when you're not totally absorbed by the film.

Results in a weightless film. Worse still, McElwee's languid tone makes his journey lack conviction.

One true gem is Daniela Piepszyk, Mauro's teen neighbor, who is a fireball and the leader of the neighborhood gang of boys. You can't take your eyes off her.

Not only does the fragmented delivery become trying, but also the behind-the-camera dialogue and city shots with heavy Parisian traffic numb the senses. And as beautiful as it looks, there's really nothing new coming out of the lens of the revered Godard.

Junge had come to terms with her past. And even if you don't come to terms with her life, it's worthwhile knowing about it.

Much like the good westerns, Coastlines keeps you entertained throughout its two hours, which says a lot about Nunez's storytelling.

Simplicity is ever so eloquent in a film that despite a questionable last scene is outstanding enough that even the credits deserve attention. [06 Feb 1998, p.8G]

May not be everyone's favored bloom in the garden, but it is still a fine work on film.

A fascinating look at events mostly unknown to outsiders.

Light as the film may be, My Wife Is An Actress is not devoid of charm. It's like a summer book: quick, enjoyable and, mostly, easily forgotten.

Satire is at the core of Mafioso, whether in establishing the by-now-stereotypical images of Sicilian peasants or the gripping arms of the Mafia.

The stories touch our sensibilities, but the documentary never sugarcoats the childrens' experiences.

Not for those with limited attention spans, though there's never a dull moment.

Secret of this 'Ballot' lies in its humor, charm and universality.

Innocence is a gentle love story, one that touches on an issue of great sensitivity -- sexuality in old age.

Don't try to figure Emilia's family out. Just sit back and let this family scrapbook move along.