That rare commodity: a film with only good things to say about public schools.

Smart, scary -- and at times very funny -- horror movie.

It's an odd, initially jarring mixture of style and subject matter that works better as the film goes along.

Octubre has the feel of something Jim Jarmusch might have made in his early years -- lots of dark humor that you'll think of in the middle of the night, and laugh about.

Excellent performances are given by all, with Alidoosti, who has the face of an angel, once again a wonder.

Like the film itself, it’s simple but well-executed enough.

Harris, a talented comic actress who looks more like a real person than a Hollywood facsimile of one, makes every scene she's in shine.

In their refusal to be up-to-the-moment, the Narnia movies are bound to age beautifully, perhaps much more so than the two Shrek films Adamson directed.

A quietly compelling documentary that is refreshing in both form and content.

You may call the film blingsploitation but its fun-loving hoodlums know who's fooling whom.

Beware of blood-sucking Mormons! At least that's the tongue-in-cheek message in Trapped by the Mormons, a campy sendup shot as a 1920s silent movie.

Bloody horror flicks need not be anemic when it comes to intelligence. The victims of You’re Next, as well as their slaughterers, are reasonably smart and resourceful. Their clash may not be as nasty as the battles of academia, but there’s a lot more common sense involved.

Don’t let its sweet title fool you: Director Noah Baumbach’s latest may just be the best war movie of the year.

Overly long and uncomfortably intrusive, but never less than compelling.

Nostalgic for those bad old days, The Wackness was shot at a time when it actually looked like "America's Mayor" was going to be in a position to perform a similar cleanup on the entire country. That, of course, turned out to be a pipe dream.

Comes closer to what a Bond movie should be and once was.

Oddly undramatic.

In an attempt to understand this phenomenon, Ziv interviews leaders of terrorist groups like Hamas, failed hit men now in jail and relatives of those who died carrying out these attacks. The effect is frightening.

Huppert is, as usual, superb, proving yet again that she is the finest actress working in France today.

Pulls no punches - blood flows very freely (including the ear-cutting scene) and black humor abounds.

Reichardt doesn't so much tell a story as paint a finely detailed portrait of human suffering in this miniature marvel.

A treat for aficionados of oddball movies.

Bleak, demanding stuff, and its hand-held documentary-style photography is harder on the stomach than "The Blair Witch Project."

It is often as powerful as it is elegantly shot. Unfortunately, Szabo tends to tell this rather predictable tale in an obvious yet uneven way.

This black comedy is a small gem.

Yousef’s story, which he retells in the documentary The Green Prince, is one of unimaginable courage and moral awakening.

The story is good-natured, but Panahi's message is serious: That ludicrous rules turn Iranian women into third-class citizens. And what better way is there to get that point across than through sports and laughter?

The documentary takes no sides, but its bleak message is all too clear.