V.A. Musetto

Johnny Depp puts in a cameo declaring that "most Americans believe the clichés about Gypsies." Unfortunately, the well-intentioned film never gets beyond clichés itself.

Marker's documentary, shot on video, uses interviews, film clips and shots of Tarkovsky on the set to examine the Russian's work.

Combining a thoughtful script with splendid acting -- especially by Sansa -- Bellocchio has fashioned a tense thriller that is both understated and powerful.

Strel's 2007 adventures on and in the Amazon are detailed in John Maringouin's fun documentary Big River Man.

Examines in entertaining detail the way Hollywood has treated North American natives going as far back as the days of silent flicks.

Frantic and out of control - and great fun to watch.

Deadly dull.

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.

If there is anything positive in The Girl Next Door, it is the brave performance by Auffarth, who is in her early 20s. Other than that, there's little reason to see the movie. Unless, of course, you get off on watching the sexual exploitation of underage girls.

The film's unusual look lends a magical feeling.

The final twist is completely unexpected.

Why make a documentary about these marginal historical figures? Wouldn't one about their famous dad, author of "Death in Venice," etc., be more valuable?

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

The indie film is funny and, at times, heartbreaking. Wisely, it avoids the happy ending that Hollywood would have insisted upon.

Inspired by Edgar Allan Poe and the Marquis de Sade (interesting combination, no?).

Days of Glory has good intentions and a well-executed combat scene, but it could do with more originality.

Talking heads include friends, fellow artists, art dealers and former girlfriends. One contributor is Julian Schnabel, the painter and filmmaker who directed the 1996 biopic "Basquiat."

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.

There are a few scares, but not enough to make up for the murky script.

There are moments of fun (an aphrodisiac-laced dessert, for example), but generally the humor seems warmed-over.

Paints an entertaining picture of the cherubic gentleman, who as the first curator of contemporary art at the Metropolitan Museum of Art brought new excitement to the stodgy institution.

[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.

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

Be advised that this is no ordinary music doc. There are no talking heads and no performance footage of Nirvana. In fact, there's no Nirvana music at all. Instead, Schnack gives us other artists' music that had an effect on the troubled rocker.

Camandule gives a strong performance as the lovesick guard, but Svarcas gets little chance to show her skills. There's minimal dialogue and camera movement -- but lots of charm.

An interesting but flawed look at the birth of the French New Wave.

[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.

Clever, wise and witty.