Movie actors are notoriously inarticulate about their craft, but what about movie directors? If the documentary Great Dir­ectors is any indication, the returns are a bit more promising.

The subject is so gripping that you almost forgive the filmmakers for skewing their material in order to keep Costner's pretty face at the center of everything that happens.

Be warned that the violence-prone Spielberg of "Saving Private Ryan" and "Schindler's List" is also on display.

Has social, psychological, and ultimately mystical overtones that raise it leagues above most other teen-centered comedies.

Even if you sympathize with his troubles, it’s hard to actually like the guy. At best, he’s uncomfortable to be around; at worst, he’s irritating and even reprehensible.

This is one of those stories that, on some primal level, goes straight to the heart. Be aware that the film features a child rape scene.

Fans of Robert Altman's hit "Gosford Park" will find similar pleasures here: colorful characters, multiple story lines, and clever blends of comedy and drama.

The action and special effects are mostly first-rate and Vogt-Roberts maintains a vaguely satiric tone that sidesteps schlockiness.

The movie is often as raucous and seedy as its less-attractive characters, but it gains power from inventive acting and poignant touches.

Sprightly acting, understated emotions, and lovingly detailed ambience make this amiable comedy-drama an easygoing indie pleasure.

Socially alert drama.

Hogan's version brings out the story's somber side, showing how the mischief of unworldly characters like Peter and Tinkerbell can do real damage, and how refusing to grow up is an awful idea if you actually try it.

The sensuous atmosphere often preempts the drama. Neither Elio nor (especially) Oliver are quite rich enough as characters to outshine their surroundings, and, although it’s rare to see a movie of this sort that is so markedly nonjudgmental, the lack of sharp conflict doesn’t make for a terribly invigorating experience.

Clear away the annoying avant-gardism and you have a powerful movie about a writer, Phillip, who undergoes a mental breakdown and is pulled halfway back to health by his girlfriend.

Without an actor of Broadbent’s poise and humor, The Sense of an Ending – which, I must add, is appropriately also the title of a famous work of literary criticism by Frank Kermode about theories of fiction – would be a bit too fusty.

Furtado's comic thriller is a telling commentary on modern avarice in Brazil and elsewhere, which touches on everything from "The Simpsons" to "Rear Window" along the way. Too bad it runs out of ideas before the overlong story is over.

The acting is excellent and Penn reconfirms his remarkable talent for muted, understated filmmaking that focuses on character and dialogue rather than spectacle and sensationalism.

Weaver is superb in a movie as scary and provocative as the timely subject it explores.

It would be even more impressive if the story and characters lived up to the inventive techniques, though.

Anderson can't quite rise above his own quirkiness. It's not that he can't respond to the beauty he places before us – he can – but his jokiness keeps undercutting his own best efforts. The Darjeeling Limited is a transitional film for him: He's outgrown a comic style that can no longer accommodate his deeper feelings.

This sensitive, sometimes troubling family drama is one of the rare movies dealing with intelligent adults tackling lifelike problems.

Four university students band together under the obnoxious mentorship of Andre (Thibault Vinçon), who is meant to be brilliant but, to me at least, seemed all too obviously a poseur. His betrayal of his friends deepens the movie.

Much of the action is as ponderous as it is predictable. Lector fans will get their fill, but be warned that the menu contains at least two scenes with over-the-top excesses that Hannibal himself might not want to swallow.

At times the filmmakers seem to be taking potshots at Philomena for her placidity; other times Martin is made to seem crass and unfeeling – insufficiently spiritual. Life lessons are imparted, although the players never budge very much from their initial attitudes.

Ferocious satire.

More imaginative and responsible than the somewhat similar "Life Is Beautiful."

Tavernier's compassionate views and long filmmaking experience shine through this eloquently acted drama.

What does it all mean? I'm not convinced that Fricke's movies are much more than exalted travelogues, but you certainly feel as if you've been somewhere after you've seen one of them.