V.A. Musetto

Carion gets excellent performances from Emir Kusturica as the Russian and Guillaume Canet as the Frenchman. Each is a filmmaker in his own right -- Canet's directorial résumé includes the thriller "Tell No One" and Kusturica's lists the Serbian black comedies "Underground" and "Black Cat, White Cat."

A well-researched picture of how racism led to nine men being falsely accused and wrongly convicted. One only wishes that the filmmakers had more than 84 minutes in which to tell the story.

In an attempt to understand this phenomenon, Ziv interviews leaders of terrorist groups like Hamas, failed hit men now in jail and relatives of those who died carrying out these attacks. The effect is frightening.

Don't expect guffaw-inducing comedy, but rather deadpan humor in the style of Buster Keaton and Jacques Tati.

You're either going to love this film and run out to see everything Majewski has directed, or you're going to be bored silly. I'm hoping for the former.

The story isn't exactly new, but Bollain, an actress in her own right, keeps Take My Eyes from sinking into clichés.

In the end, "Wilbur"' manages to look death square in the face and walk away laughing.

As we learn in director Jonathan Berman's fun documentary Commune, the ranch was financed by people such as musician Frank Zappa and actor James Coburn.

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

A Woman in Berlin, which is based on an anonymously written memoir of the same name, serves also as a testimony to women who put men in their place.

The acting is superb, especially the always alluring Charlotte Gainsbourg as a mysterious Englishwoman taking the ship to America. Agnes Godard's lensing is painterly, and Crialese's direction is seamless.

The film takes awhile to get going -- the depiction of homophobic 1950s suburbia has a familiar feel. The movie hits its stride only when eyewitnesses to the events at the Stonewall tell their stories.

Holland has said that she wanted her harrowing and rewarding epic to run long so it would make viewers feel that they're in the sewers as well. In this, she succeeds.

An indie gem.

Subversively funny, it's a welcome alternative to the big-budget movies flooding into theaters at this time of year.

Yu presents a compelling, somewhat disturbing portrait of the artist, who in 2000 was the subject of a major exhibit that toured the world.

As directed by Ole Christian Madsen, the thriller features well-choreographed shootouts and assassinations. But the script is too melodramatic and complicated for its own good.

As a history lesson, Oswald's Ghost is valuable, but don't go expecting any new revelations.

Kim Rossi Stuart gives an excellent performance.

Sergei Puskepalis (Sergei) and Grigory Dobrygin (Pavel) give powerful performances, but the real star is Mother Nature.

If you can't beat 'em, join 'em. That about sums up the amazing story of Edith Hahn Beer, an Austrian Jew who survived the Holocaust by passing herself off as Aryan.

It doesn't measure up to Schlondorff's 1979 Oscar winner, "The Tin Drum," but it's compelling nevertheless.

As usual with Majidi, the cinematography is super (best scene shows Karim, disguised as an ostrich, in pursuit of an escaped bird) and the acting is realistic and low-key.

Blame It on Fidel doesn't aim for the profundity of Costa-Gavras films like "State of Siege" and "Z" - but who's complaining?

You know a performance has to be special when a Palestinian wins Israel's version of the Best Actress Oscar. But why should politics detract from a stunning performance?

A vivacious film that is a treat for eyes and ears.

The documentary takes no sides, but its bleak message is all too clear.

Dickie is intense in her screen debut, which requires her to be in nearly every scene. The supporting cast is strong, and Robbie Ryan's handheld camera provides gritty ambiance for this taut thriller.