A smart, winning and comic, if at times bittersweet, treat.

There are gaps here and there, but it provides a fascinating introduction to a corner of film history that has gotten too little attention.

British filmmaker James Marsh recreates this tale of an ambitious primate language study through traditional face-the-camera interviews, clever graphics and dramatic recreations.

Plenty of people die in I Saw the Devil, but it is that first attack on Ju-yeon in the movie's opening minutes that reverberates through the epic 141-minute running time.

Although Westfeldt's sharp screenplay is mostly talk, it's very good talk.

Michael Apted opts for a certain dated and mannered appeal with a whiff of nostalgia for more innocent times, which lends added enchantment.

It's important to note that Waste Land is not a landscape film about the landfill itself. Instead, Walker, who also premiered a second documentary at Sundance, "Countdown To Zero," about the threat of nuclear proliferation, shows that Waste Land is ultimately about the pickers, Tiaõ, Zumbi, Suelem among others, who rise up through the power of their own artistic accomplishments.

The film is at once clever, poignant and timely.

Compellingly taut and existentially thoughtful, this exceptional Euro-American hybrid is perfectly pitched for the kind of crossover success previously enjoyed by Guillaume Canet's 2006 surprise hit "Tell No One."

Barney's Version is one of those rare films whose caricature of life undeniably illuminates. It's the vivid story of the topsy-turvy character so flawed you love him despite yourself.

Really a perfect family movie.

There's more to it than a black-and-white political conclusion, and the laundry list of California documentary heroes in the credits suggests this film is humanist before it's agenda driven.

Burns captures the look and spirit of the times with perfect detail.

Fiennes' technique is extraordinary in its simplicity, balancing a literal prowl throughout his immense sculptural environs with a respectful observational distance.

Frank Ross' newest film, Audrey the Trainwreck, is at once utterly down home and completely philosophical.

Mission: Impossible 4 is so well-made and smooth you may need to see it more than once to truly appreciate its brains and nerves and blood.

This film stands out as one of the year's best.

Drive dynamically merges a terrific film noir plot with a cool retro look, evoking '60s classics like "Point Blank" and "Bullitt."

Ford is hilarious and brooding, deeply wrinkled and deeply intimidating. He's got the best lines, courtesy of screenwriter Aline Brosh McKenna (of the repellent "27 Dresses" and the much better "The Devil Wears Prada").

Azabal is superb, conveying Nawal's fiery presence, determination and mounting bitterness. The impressive cast includes non-professionals from Jordan, where Incendies was filmed.

Will appeal to upscale adult audiences with its mix of gorgeous Chinese locations, splendid dance sequences and compelling personal story.

A charmingly lo-fi love story.

Like Carrie without the telekinesis, this horror movie replaces the supernatural with blunt brutality and dark humor to terrific effect.

Ondine is Injected with a heavy dose of magic and has a lot going for it: an endearing performance from star Colin Farrell, Christopher Doyle's evocative cinematography and a captivating-if thin-story.

Every frame of silent, lip-biting, pent-up tension in the series has been holding its breath for this -- a 600-minute soap opera suddenly exploding into a Grindhouse slasher.

Paul is a close encounter with the comic brilliance of Simon Pegg and Nick Frost that makes going to the movies fun again.

It's the best 3D horror movie ever made, as much for its superlative technical merits as for its satisfying thrills.

It's Cronenberg's most willfully weird movie since "Spider," and it should prove a tough sell despite Pattinson's ample star power.