V.A. Musetto

Chabrol, who is often called the French Hitchcock because of his intricate thrillers, is approaching the big 8-0, yet he continues to do quality work, as shown by A Girl Cut in Two.

If action's your thing, then the Chinese-Hong Kong martial-arts epic True Legend is your movie.

This is powerful filmmaking for discerning viewers.

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.

Mirikitani is a colorful character and talented artist, and his story tugs at the heart. Problem is, Hattendorf insists on inserting herself in what seems like every other scene, a device that dilutes Jimmy's story.

Combines a wise script with funky performances, especially by Aselton, who could give Jennifer Aniston a run for her money.

A loving tribute to cinema by Tsai Ming-liang, one of Taiwan's most accomplished and popular directors.

Riding Alone features a moving performance by Takakura (often called the Asian Clint Eastwood), as well as pretty cinematography. But the mushy script, co-written by Zhang, never rises above that of a TV soap opera.

Perry - who also produced, wrote and lensed - was able to talk Fujimori into letting her interview him on camera in Japan. He puts on a great show.

An original head trip definitely not recommended for kiddies.

Sappy and simplistic.

As with "Distant," the dialogue is minimal, the takes are long, the narrative is laconic (too much so for many viewers, I imagine) and the cinematography is painterly.

With Japan facing a new nuclear crisis, this beautifully composed and acted heart-wrencher -- couldn't be more timely.

The film leisurely unfolds as a series of vignettes about class distinctions and crime, with an unexpected ending. It is beautifully filmed in CinemaScope and strongly acted (especially by Solha), and makes for mesmerizing viewing.

If you think you've seen Imaginary Heroes before, you're right -- only it was called "The Ice Storm," or maybe "Ordinary People."

The sex, nudity and violence are nonstop, but that's what makes Headhunters exciting entertainment. See it before the Hollywood remake, possibly starring Mark Wahlberg, gets it all wrong.

Quinceañera isn't a work of art, nor does it want to be. But it is a crowd-pleaser.

The film is dark, both literally and figuratively. Only at the very end do we get a glimpse of the sun.

By terms moving and funny, the story reaches its apex when Half Moon, a beautiful young woman played by Golshifteh Farahani, makes her appearance from out of nowhere. Is she real, or perhaps an angel? You'll have fun trying to come up with an answer.

Potash's film tells an important and disturbing story, but his presentation is uninspired and non-cinematic. It's best left to TV.

A highly original black comedy from Greece -- and one of the weirdest movies I've seen in a long time.

Joe Swanberg - who directed, edited, lensed, co-wrote and played one of the lovelorn characters - has done wonders with a nothing budget and a personable cast of nonprofessional actors. For viewers so disposed, there are several arty shots of nude women.

The fractured timeline covers five decades, which Miller weaves together, with the past shot in color and the present in black and white. Still, the soapy climax is unnecessary.

Kim's wittiest effort to date, with a wordless performance by Jae Hee that recalls Keaton and Chaplin.

The script plays fast and loose with the facts and adds soap-operaish touches, but Thalbach is a feisty delight.

The film did well at the local box office and has been shown at some 40 international festivals. Eat your heart out, Michael Moore.

After winning raves at last year's New York Film Festival, Pablo Larrain's Tony Manero, from Chile, is receiving a run here.

Breezy and informative. It offers a view of the talented, opinionated man that only his son could pull off.