A taut suspense flick for grown-ups.

A funny, shambling buddy comedy that mostly serves as a vehicle for our two stars to do what they do best, which is riff on race and pop culture.

Uber-hip technique triumphs over substance in Reconstruction.

Glawogger doesn't make any moral judgments, but you can't help but feel sorry for the "girls'' and their johns.

The main flaw is that, as an actor, Duplass isn't able to make the audience love him. Picture "Bottle Rocket"-era Owen Wilson in the role, and you've got something special.

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.

Chemistry is the usually misfiring engine that drives romantic comedies, so it's a pleasure to report that Justin Timberlake and Mila Kunis are practically combustible together in Friends With Benefits.

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.

But it's more than a crowd-pleaser shot at spectacular Rocky mountain locations -- it's almost revolutionary.

Bahrani's unsentimental film is perhaps most interesting as a look at a colorful, little-known world that has recently been targeted for urban renewal.

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.

A delightfully immersive look at how a ballet is created, Jody Lee Lipes’ documentary is a stark contrast to the psycho theatrics of something like “Black Swan.”

Kids will be as enthralled by this film as you were by the live-action Disney movies of the '70s. It doesn't get any sweeter than a roomful of mattresses with kids and dogs jumping on them.

Many indie films about adolescents these days - like Gus Van Sant's "Elephants" - are willfully amoral. Mean Creek isn't - and it's the first indie since "Thirteen" that parents should make required viewing for teens.

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.

Wonderfully quirky love story.

A clever, funny, extended joke about ruthless directors, method actors and the power of the cinema.

Paine doesn't hide his liberal mind-set, but he lets all sides - from GM suits to Ralph Nader - have their say. By the closing credits, there's little doubt who killed the electric car.

While Clooney and especially Blanchett give solid performances, and McGuire plays effectively against type, the movie is best appreciated as an exercise in vintage Hollywood style.

Sounds boring, but it's not, thanks to Marker's whimsical irreverence.

See his movie now, brag about your discerning taste for undiscovered talent later.

The real star, however, is Michael Simmonds, whose manic black-and-white camerawork captures the unique vibrancy of New York City. He helps turn one woman's obsession into a valentine to Gotham.

There should be a word for the friendly rudeness of deli waiters: In the documentary Deli Man, they’re described as being as brusque and familiar with you as if you’re there three times a day — even if they’ve never seen you before.

Koreeda, talented director that he is, never allows the story to sink into soap-opera melodrama, and he refrains from pointing fingers.

It’s my favorite Cage performance in some time, after overly bizarre turns in recent years as a murderous parent in Mom and Dad and an inmate on a mission in the Japanese film Prisoners of the Ghostland. When he goes back to basics, it’s as rich and juicy as a delicious ham steak.

Enthralling performances are given by Tadanobu Asano (Miike's "Ichi the Killer") as Kenji and first-timer Sinitta Boonyasak as the pot-smoking Noi.

It's Willis who delivers the goods in scene after scene, triumphing over a thin script, often bland direction.

Despite many flaws...Romance is unquestionably an important film.