V.A. Musetto

Dysfunctional families don't come much more messed up than the one in Agnes and His Brothers, a comic drama from Germany.

[Refn] mixes jittery hand-held camerawork, improvised dialogue and available light to create a nightmarish world of sex, drugs and horrific brutality that will turn off many viewers while delighting others.

Charming to the max.

Pablo Larraín and Alfredo Castro - the director and star, respectively, of the acclaimed Chilean black comedy "Tony Manero" (2008) - reunite in the chilling Post Mortem.

Light on dialogue and heavy on creepy atmosphere. See this movie and a visit to the tailor's will never be the same.

Sexploitation and art blend uneasily in Crazy Horse.

The film has no ready answers, although it becomes abundantly clear that both those for and against charter schools are more concerned with covering their own asses than with helping students get a quality education.

That rare commodity: a film with only good things to say about public schools.

Whether Tiny Furniture is a mumblecore movie is an open question. It has many of the tell-tale signs of that ill-defined genre; although improvised dialogue, a mumblecore staple, is minimal.

[Refn] mixes jittery hand-held camerawork, improvised dialogue and available light to create a nightmarish world of sex, drugs and horrific brutality that will turn off many viewers while delighting others.

Whaley gives an earnest performance, especially when he's articulating his frustrations during his monologues. But it's all relentlessly glum. The film, like Jimmy's routines, could use a few good laughs.

White-haired Ronnie Gilbert of the Weavers -- the group was blacklisted during the McCarthy years -- is in especially fine voice.

Abduction uses interviews, vintage photos and re-creations to tell the sad story of love and hope in riveting, suspenseful style. So powerful is this film, it brought tears to my eyes.

The laughs flow, but Zobel isn't content to rely solely on them. To his credit, he allows Martin and Clarence - and the film - to develop consciences.

This poorly done, digitally animated work, directed by Hiroyuki Kitakubo, might be of interest to die-hard fans of anime. Others should pass it by.

Has enough material to supply an entire year of a soap opera - in Inner Mongolia, that is.

It's a touching story that deserves to be told. Unfortunately, Slesin's presentation is conventional and uninspired (lots of boring talking heads). These heroes deserve better.

Funny is not a word often used to describe von Trier's output, but "Boss" definitely is that, thanks to a breezy script and a bright cast.

Don't get the wrong idea -- to Rowe's credit, this isn't just a movie about sex. It's a compassionate study of human loneliness. Whatever you do, don't confuse this with the Hollywood rom-com of the same name.

Haneke's images are so bold and riveting and the characters' emotions are so raw that the lack of a few details doesn't matter.

The well-acted, pleasantly lensed drama doesn't recall Hollywood's generic approach to fragile couples, and that's just fine with me.

Vincent Lindon, one of France's leading actors, is super as Marc, a man on a downward spiral into insanity. And Emmanuelle Devos is comforting as Marc's loving wife.

The final twist is completely unexpected.

I cannot tell a lie. I derive great satisfaction watching John Malkovich act.

Mozart's Sister had a much smaller budget than "Amadeus," but Féret makes good use of his resources, even getting to film in the splendid halls of Versailles. The cast is excellent, be they relatives of the director or not. And the music, though not by a Mozart, is beautiful.

Delightful performances are delivered by all in this ingenious work of cinema that is worth seeing if only for its glorious views of the Himalayas.

The release of Crossing the Line couldn't be more timely. Earlier this week, it was announced that the two Koreas would hold a summit this month in Pyongyang. Perhaps Kim will bring Dresnok with him.

Lush and poetic, Dolls proves once again that Kitano is one of the world's most original filmmakers.

Makes for fascinating viewing.

Director and co-writer Matteo Garrone infuses The Embalmer with a spooky eroticism. The film is dark, both in theme and visual composition.

Yvan Attal and Anne Consigny give understated but powerful performances as Graff and his wife, Françoise. Although a bit too long, Rapt makes for compelling viewing.

A beautiful but empty-headed documentary.

A sobering, if exploitative, portrait of the real-life hitchhiking hooker portrayed so realistically by Charlize Theron in "Monster."

Dutch-born Lotte Verbeek is solid as You, a role that won her the best-actress prize at the Locarno Film Festival.

Call it the rape of Carnegie Hall.

Tom Hardy gives an amazing performance as Peterson, who took on the nickname Charlie Bronson, after the "Death Wish" actor.

Strictly for art-house types, particularly those familiar with the director, who makes no concessions to mainstream audiences. You have to abandon any preconceived notions about movies and allow your mind to be seduced by the mystifying, occasionally humorous world of a one-of-a-kind filmmaker. You might even find yourself becoming a fan.

Boring.

So potent, it could change the mind of even the most staunch defender of capital punishment.

The labor of love of South African brothers Craig and Damon Foster, who directed and photographed this intriguing documentary.

An amazing portrait of the great filmmaker Ingmar Bergman in his later years.

The subject may be serious, but Ghobadi's approach is mostly light and humorous, at least until the final scenes. Hamed Behdad is especially funny as a streetwise promoter who fast-talks his way out of jail and 80 lashes.

What made Ludwig such a great musician? The documentary In Search of Beethoven, directed by Phil Grabsky, answers that question reasonably well.

Roman de Gare translates as "station novel," a book you might pick up to read on a train journey and then discard when you arrive at your destination. Lelouch's film is the cinematic equivalent, enjoyable fluff that your mind will discard after the closing credits - but worth seeing nevertheless.

Mirjana Karanovic (Esma) and Luna Mijovic (Sara) give powerful performances as Zbanic imbues a simple story with a powerful commentary on the Bosnian war's devastating impact on the innocent.

One of the most original and stylish films to come along this year.

Beautifully composed documentary.

It isn't recommended for impressionable children, who might well experience nightmares. But for grown-ups looking for an alternative to the annual onslaught of ho-ho-ho Christmas tales, the visually pleasing oddity is just the thing, even if it does slow down in its middle portion before picking up again.

While some of this white guy's humor is juvenile and in questionable taste, Hoch, for the most part, is able to pull it off and supply a frequent number of laughs.

A crackling musical score and eye-popping cinematography add to the nonstop ferocity, and Wagner Moura is charismatic as the head of the titular police unit.

This black comedy is a small gem.

Hilarious.

Director/co-writer/cinematographer, Yam Laranas, still delivers a maximum of suspense and horror, working wonders with a small budget.

Mesrine's gentler side is explored, too, as he gets caught up with women portrayed by two of France's leading actresses, Ludivine Sagnier and Cecile de France.

Seventy percent of black boys in Baltimore do not graduate from high school. They're more likely to land in jail -- or a cemetery. But there is hope, according to The Boys of Baraka, an uplifting documentary.

A work of drama, it's more realistic than any TV reality show.

The film casts Spector in a sympathetic light. You can't help feeling sorry for the tormented genius.

It shows the hardship that women -- especially older women -- must endure in a male-dominated business.

Michael Kang makes an impressive feature directorial debut with The Motel. But the person to keep an eye on is Jeffrey Chyau, a student at the Bronx High School of Science, who is a delight in the lead role.

The lazy story takes on a passion and urgency that peaks in an emotional finale.

Preteen sexuality is a sensitive subject, but director Auraeus Solito handles it with dignity, never becoming exploitative.

A mix of documentary and fiction, it demystifies the profession in delightful fashion.

A thoughtful and intelligent film, and should appeal to adventurous souls.

The Last Circus features garish costumes, grotesque ultraviolence and plenty of other assorted weirdness. Although not everybody's glass of sangria, it has the making of a cult hit.

It could turn someone who never heard of the Flaming Lips into a devoted fan.

On paper, Ushpizin (Aramaic for "holy guests") looks like a hard sell. It works, however, thanks to a witty script and believable performances from real-life husband and wife.

Schmaltzy and contrived.

The music is vibrant and the presentation is appealing.

Ends in a cascade of sentimentality straight out of Hollywood. Not even Chweneyagae's excellent acting or Lance Gewer's dark photography can save the film.

The tedious film might have been worth watching if Burman had given reasons to care about Ariel or anyone else. He doesn't and we don't.

The cryptic finale raises more questions than it solves. But She's One of Us is such a fine work that answers aren't necessary.

A wild ride that effortlessly combines devilish dark humor, slapstick comedy, extreme violence and bitter satire.

Heartbreaking.

Does a first-rate job of remembering.

The Chinese pleaser Electric Shadows belongs to a genre they don't teach in film school: Triple S, as in sweet, sappy and sentimental.

The surreal images lack narration and talking heads, which is no problem. In fact, the device makes the shocking footage more compelling.

Ricardo Della Rosa's sumptuous, wide-screen cinematography takes full advantage of the sandy vista, complementing beautiful acting by Montenegro and Torres.

Sparse of dialogue and plot (think Andrei Tarkovsky), the import - named best first film at Cannes 2005 - has to do with Sri Lanka's unending civil war and it's devastating effect on residents of a barren no man's land.

Weisberg is nonjudgmental, allowing his subjects to deliver the message that, for far too many people, the American dream is more of a nightmare.

Unless you are offended by a little female nudity, The Silence Before Bach will shock you not. But it will provide gorgeous lensing and art direction and some of the world's most beautiful music.

Clichéd stories, clichéd characters. All that's missing is Ed Burns.

An example of style over substance. There's lots of slo-mo and jittery hand-held camera work, and references to the French New Wave (especially François Truffaut), but little depth.

Curse of the Golden Flower could also be called "Curse of 'Crouching Tiger, Hidden Dragon.' " In other words, it is yet another attempt to cash in on the success of Ang Lee's 2000 martial-arts epic, which will go down in the history books as one of the most overrated films of the decade.

Features crisp dialogue and understated humor, played out by an attractive young cast. Audiences bred on Hollywood romances might find the film too chatty and contemplative. To them I say: Get over it, kids!

Enlightening.

Chiara Mastroianni, whose mom, Catherine Deneuve, starred in Demy's "The Umbrellas of Cherbourg" (1964), appears here as Julie's sister. Vive la New Wave.

Tackling serious issues with humor and understanding, the film portrays Mona's woes as a microcosm of the entire mess in the Middle East.

Paine doesn't hide his liberal mind-set, but he lets all sides - from GM suits to Ralph Nader - have their say. By the closing credits, there's little doubt who killed the electric car.

There are no talking heads, but lots of singing heads and sexy dancing bodies, many of them belonging to stars in Spain. In total, there are more than a dozen performance pieces, all stylishly lensed.

They take a mundane story and give it emotional resonance.

Veteran stage, screen and TV actor Moshe Ivgi gives a sturdy performance as Moshe, a supposed tough guy who sobs when confronted by bank robbers.

The faint of heart might want to leave early. If you elect to stay, remember: You were warned.

Spanish director Achero Manas' El Bola shows how the boys' bond leads to salvation of a sort for the needy Pellet. He does so with great sensitivity, never sinking into exploitation.

Moves along briskly, with several laugh-out-loud moments.

Caramel, by the way, gets its name from a blend of sugar, lemon juice and water that is boiled until it turns into a paste used to remove unwanted hair in the Middle East.

Director-writer Jang Jun-hwan starts things off with a bang and never looks back, pushing up the excitement periodically.

The effect is informative and moving, even if the film has an attack of the gooeys at the end.

An animated feature that revels in its low-tech wackiness.