If Dubus' work always resembled some sort of literary therapy session, as has often been said, then Field's version requires grief counseling. It is, at times, that devastating.

In the end, Code Unknown is a puzzle with no obvious solution.

Rife with silliness, such as the flashbacks within flashbacks of characters who were not with one another at the time, and occasional unintentional laughs -- but it's also a good, raucous kick in the behind, which is literally all it aspires to be

Powerful, sensuous and thematically hokey transsexual adventure.

A thoroughly likable, if familiar, Woody Allen comedy -- not the most original or revealing tintype in the director's gallery, perhaps, but blessedly free of the self-conscious hand-wringing and tortured navel-gazing that impede the former Mr. Konigsberg's more sluggish efforts.

Well redeemed by its dank atmosphere and cracker-barrel performances.

It succeeds where its recent predecessor miserably fails because it demands that you suffer the dreadfulness of war from both sides. That might not make it a milestone, but it's a hell of an improvement.

Fans of convoluted narrative in the manner of Christopher Nolan and David Lynch are likely to be intrigued, although Medem has a far stronger streak of sentiment.

Thoughtful and somewhat languid adaptation of Anton Chekhov's 1904 play finds its beauty in the heady performance of Charlotte Rampling.

You'll feel fatigued watching it, but more out of empathy than boredom.

The cornerstone of this fascinating film is a peculiar but absolutely solid love story. In terms of intellectual and emotional stimulation, who could ask for more?

Combines strong feminist sensibilities with surprisingly old-fashioned melodrama.

From the start, a comprehensible, if necessarily simplified, sense of an extremely complicated moment in history.

Arteta targets Middle American ennui with wit, compassion and no shortage of ornery malaise.

Swept Israel's version of the Oscars two years ago, and though it won't do as well here, it's an accomplished debut with heart, war and sex. In the age of paranoia, it just might be the perfect date movie.

A visionary breakthrough for the young directors, a darkly alluring and largely successful attempt to crowd the territory of Roman Polanski and Dario Argento.

It's light fantasy, but lovely and astute.

If you like being scared, you should have fun. Bring a date to hold hands with.

Huppert has never looked more beautiful. Despite her severe expression and lack of makeup, her face communicates enormous character. She proves absolutely spellbinding.

Scorsese's rockudrama withstands big-screen scrutiny some 24 years after its initial release.

The pleasure is in watching veteran star Bouquet and the versatile Berling go at it -- they even seem to look alike.

A subtle mood piece in which a man's collapse is examined so rigorously that one almost hopes for a murder to come along and break the tension.

Thoroughly entertaining Home Movie carries on a grand tradition of American documentary -- seeking out the eccentrics and contrarians among us.

Audiard keeps things shaky, grim, claustrophobic, doomed. His film has the feel of documentary, as he follows Clara through the daily grind that pulverizes her. We're in her head, literally.

An extraordinary film from a born filmmaker.

Roll with any stylistic difficulties you might initially have, and prepare to be awed.

Dramatically effective, thanks in large part to Montand's impassioned performance.

It's a bewildering but deeply satisfying paradox, this constant, nearly silent collision in Tran's films of the visible world and the turbulent, unseen world.