V.A. Musetto

Skip it, and rent "The Adventures of Priscilla, Queen of the Desert" instead.

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

It is filmmaking as it should be but usually isn't.

Just as my mind was floating back to the summery movies directed by Eric Rohmer, Marie Riviére -- a Rohmer favorite -- shows up as a mysterious woman on the beach. Surely, Ozon had Rohmer in mind when he co-wrote and directed this lovely film.

If you want an introduction to the director's work, you're better off with "La Belle Noiseuse" (1991) and his masterpiece, "Celine and Julie Go Boating" (1974).

A stunning study of ennui.

I hope they have shrinks in remote Nepal, because this kid is going to need one. P.S.: The scenery is awesome.

The tap-dance finale is a gem.

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

All too often, films about interconnected lives stumble under the weight of coincidences. Not The Edge of Heaven.

Having root-canal surgery would be less painful than sitting through the martial-arts disaster Ong-Bak: The Thai Warrior.

The shooting sprees are full of razzle dazzle. The final gun battle -- between Kong and the police -- is especially effective.

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

The Inheritance has a promising start but soon becomes preachy and melodramatic.

A sweet comedy with a bright cast and few surprises, the film did well in China, where it was aimed at teenagers. Since Hilary Duff isn't in the cast, its success probably won't cross over to America.

Brainless and pointless.

Koteas and Ribisi, as two very different brothers, give realistic performances, and play off the differences brilliantly.

An amateurish, pointless exercise in filmmaking.

A must for Jaglom fans. For other viewers, it will depend upon how much they can take of Jaglom's improvisational style and Frederick's over-the-top, tear-filled acting.

Awesome filmmaking. But it doesn't make for easy film-watching.

Eggleston doesn't speak much, and when he does, it's usually a mutter, forcing Almereyda to use subtitles. Fortunately, Eggleston's photographs come across loud and clear.

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.

Part political thriller, part National Geographic travelogue, Tom Peosay's documentary is a distressing look at China's 50-year repression of the people of Tibet.

Glosses over the depression and alcoholism that have bedeviled Walker as well as any relationships he might have had. But that doesn't make the film any less interesting.

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.

The story doesn't break any new ground, but the movie has energy.

Wonderfully quirky love story.

It's hard to believe that the distributors of See No Evil were so afraid of what critics would say about their movie that they refused to provide advance screenings. The movie's target viewers aren't the type who read reviews, if they read at all.