A masterful epic charting love's labyrinths.

Its deceptive simplicity makes A Better Life so emotionally profound.

Fear(s) of the Dark, a French production, interweaves the shorts, linking the segments together thematically, and narratively.

Giannoli's riotously funny and heartbreaking film follows Marguerite's attempt to stage a solo recital in a grand theater in Paris.

A spirited, smart-alecky look at the ongoing conflict between a government that wants to eliminate pot and a public that wants to smoke it.

Ergüven's film, beautifully shot and beautifully performed, cuts its storybook tone with starker, more brutal truths. Anger - aimed at a conservative social order and those complicit in maintaining it - courses through this sad, striking tale.

It's a celebration of the good times and bad times shared by a man and woman who found each other in the middle of some historic craziness, and it rocks.

Funny as it is fierce, breathtaking as it is life-affirming.

The story of Donald Crowhurst is not one of remarkable courage or remarkable endurance. But it is remarkable.

Selma may be flawed, even spurious at points. But in its larger portrait of a man of dignity, purpose, and courage, and in Oyelowo's performance as that man, the film rings true.

It deserves to be more widely seen as a quite definitive exercise in mob psychology. [17 Apr 1998, p.16]

A riveting documentary.

A heartbreaking story of true love.

It's a coming-of-age story - blunt, mythic, gut-wrenching.

A wonderful, witty mix of horror and social satire, The Host takes its simple, time-tested premise - menacing creature terrorizes the populace - and runs with it.

A postfeminist valentine to the Paleolithic days of Woman Power when dinosaurs walked Manhattan in heels with matching handbags.

Swinton is delightful in a twisted turn as Wilford's enforcer, a Margaret Thatcherian dragon lady who adores watching her men torture miscreants who have defied the train's No. 1 rule: Know your place.

Exhilarating, alternately funny and horrific film.

There's a word for women like Giselle: Supercalifragilistic. Ditto her film, Enchanted.

The film billed as the first Disney animation to boast an African American "princess" is really about a resourceful bootstrapper in New Orleans, a young woman allergic to the fairy-tale pap spoon-fed to young girls.

Pray has a great story here, but it's much more than just "The Brady Bunch's Endless Summer."

If Kumiko, the Treasure Hunter takes its time, it's time worth taking. The cinematography is lovely: great swirls of midnight snow, frosted trees in glinting sun, the bustling modernity of Tokyo, a big library, subway stations exquisite in their orderliness.

The $200 million result is an irresistibly entertaining, if grandiose, saga of doomed love and directorial hubris.

There's nothing mean-spirited, or judgmental, about the way Morris goes about his business - he must have been kicking himself with glee as one bizarre strand of the story unravels to reveal the next.

Presented with an economy and emotional cool that add to, rather than subtract from, its dramatic impact, The Girl on the Train reverberates with a quiet, seductive power.

Disarming and unexpectedly poignant, An Education contrasts the knowledge learned in school with that learned from life.

White God offers a dark - very dark - take on the way humans exert authority, and superiority, over our fellow creatures.

Has a dreamy ominousness about it, and a sorrowfulness that speaks to the artificial intimacies of cellular communication, digital images and dial-up porn.