V.A. Musetto

Brutality and tenderness are a potent mix in War Witch.

Literate and engrossing, with excellent performances.

In his fourth outing with the director, cinematographer Andreas Sinanos produces stunning scene after stunning scene, almost as if each frame were a small painting.

An acid trip of a movie about a piece of Los Angeles history that exists no more: the Ambassador Hotel.

Iraqi-Kurdish director-writer Hiner Saleem is in no hurry to tell the story, and viewers drawn in by the warm-hearted tale and charmingly eccentric characters will be in no hurry for the closing credits.

Herzog tries to make sense out of the blond-haired young man, who looked an awful lot like Kinski.

Working from a well-thought-out script co-written by director Stéphane Brizé, the two stars deliver impressive, understated performances.

The gritty photography is a perfect match for the film's harsh realities, the script is taut (not a word or motion is wasted) and the acting is raw and realistic.

It's not always clear exactly what's happening in this dark tale, full of barking dogs and slabs of meat. But you won't be able to take your eyes from the screen; nor will you quickly forget this fiercely original eye-popper.

Low-budget triumph.

To its credit, this remarkable film does not contrive a happy ending. Under the circumstances, even a mildly hopeful one seems like a triumph of the highest order.

Time to Leave just might be Ozon's best work yet. He tackles a sensitive, off-putting subject with a dignity that will put viewers at ease. Poupaud connects as the dying man and Moreau is - Moreau, a French national treasure.

Thoughtful and entertaining documentary.

Plot and dialogue take a back seat to a series of inventive sight gags that unspool with effortless charm. An ensemble cast of talented amateurs is in top form.

Makhmalbaf finds room for moments of humor and humanity.

A fantastical genre-buster.

Intelligent and tasteful, even while being sexually frank.

As is his custom, Reygadas uses a mostly nonprofessional cast; and, as expected, he draws remarkably realistic performances.

The cast is amazing -- two of the lead actresses are first-timers.

So powerful is Stranded that when the lucky few finally make their way back to civilization, you feel as thrilled as if they were your own loved ones.

The sweet script, crisp direction and a delightful performance by Leila Hatami, as the sad-eyed wife, should put Deserted Station on your must-see list.

Like mother, like daughter best sums up Or (My Treasure), a raw drama.

Denis -- who has called the film a tribute to the great Japanese director Yasujiro Ozu -- keeps dialogue to a minimum as she delicately examines how immigration is changing the face of France.

Balibar's dreamy voice (I'm reminded of Billie Holiday) is complemented by Costa's hypnotic camera work. The result is a visual and aural delight.

The highly stylized, often outrageously funny biopic is anchored by a devastating performance by Toni Servillo as Andreotti, brilliantly capturing the gnomic politician's trademark slouch and inexpressive face.

Starts slowly but builds, Hitchcock-style, to a terrifying crescendo. And don't fool yourself into thinking you know what's going to happen.

If you enjoy intelligent, challenging filmmaking, Tropical Malady is for you.

Daring, mesmerizing and exceedingly hard to forget.