Directed with style and wit by London filmmaker Richard Kwietniowski, who makes his feature debut here, Love and Death is an off-kilter romantic comedy.

Benediction is an awesome combination of wildness and control. Davies is out there all by himself, speaking a cinematic language that is his own and that has little to do with plays or literature.

The film is cleanly made and moves quickly, which enhances its effectiveness. It raises moral issues that simply can’t be addressed too often.

Because Living is all about unexpressed emotion — and an unexpressed life — there are times when we’ll feel impatient with the characters; we’ll want them to throw off their restraints and say everything they’re thinking. Just don’t be in a hurry. Living gets where it needs to go, and gets its characters where they need to be, in its own good time.

A fable about women struggling to free themselves from that myth, and even at its most obvious, it's exhilarating.

Weeping Camel essentially lets native people tell their own unforgettable story.

The result is an original picture, not entirely successful, but successful enough, and delightful in its ability to surprise viewers, and juggle tones and keep every ball in the air. The World's End has the aura - and this might only be an attractive illusion - of something imagined whole, in a burst of inspiration, rather than as something labored over.

Chinese Portrait is a great art installation, but a thoroughly unsatisfying film.

Every now and then, a film comes along that both defies and compels description. District 9 is one such movie: a science-fiction action vehicle so brilliantly and fully imagined that real life, when it resumes after the credits, arrives with a new sense of dread.

A heartbreaking, beautiful movie that gains strength from its deep characterizations.

One of the most hauntingly beautiful mysteries ever created on film.

Klayman has already shown us Ai challenging the authorities on various fronts, most grippingly in a confrontation with the Chengdu police officer who had given him a potentially fatal head injury.

The movie’s sympathies are with Halla and against the climate-change deniers, but it also sees something slightly ridiculous in her David-and-Goliath actions. What sets the film apart is how it balances both this sense of irony and an abrupt plunge into serious personal matters stemming from a forgotten decision Halla made years ago.

The whole movie is kind of like that: direct and devastating without overdoing it. The Nest unfolds in the way smart people tend to express their deepest disappointments — get it out, regain emotional control, divert for a while if you can.

Ultimately, Ford v Ferrari is about art versus commerce, devotion versus cynicism, and inspiration versus deadness. It’s one of the year’s great films, and of all the great films so far, the most accessible.

Intoxicating and flawed.

The film’s overall aesthetic is a pleasing blend of naturalistic drawings, cartoonier designs and Heavy Metal magazine futurism.

The movie's tone follows Yates' sensible credo of "less is more." McQueen, as the stylish, unflappable and virilely named Lt. Frank Bullitt, has little to say; he conveys most of his feelings with his piercing blue eyes. The gritty atmosphere of the location shots matches Bullitt's heavy brooding. [29 May 2005]

Shot almost entirely within a hotel, the film operates as a low-budget answer to “Roma,” Alfonso Cuarón’s much-lauded film that also centers on the life of a domestic worker.

As a movie about mental illness, Silver Linings Playbook is more lightweight than lighthearted. But thanks to Lawrence, it does one good thing most movies don't do. It actually gets better as it goes along.

Director Jacques Audiard beautifully lays out the story of a charming nobody named Albert who becomes a master of the half- smile and nonchalant gestures of deceit. But the story is also a cogent metaphor for French collaboration with the Nazis.

A poetry of love, longing and affirmation bleeds through the music of Cuba, and some of the best sounds the island ever created are captured with embracing humanity.

All this is interesting, or interesting enough, depending on how you feel about Elaine Stritch. If you're a particular fan, this documentary is a must-see. But for everyone else, a little of Elaine's personality goes a long way.

I could have done without the clips from the old "Superman" TV show - strictly sugar to make the medicine go down, and a sign that the director doesn't fully trust his audience.

First-time feature director A.V. Rockwell, working from her own script, tells an epic tale in miniature.

Although more Fiennes is always a good thing, 28 Years Later: The Bone Temple simply doesn’t have the solid storytelling or enthralling characters that its predecessor has.

An enjoyable example of this extraordinary director's documentary work.

Like many first-person medical documentaries — such as the recent “Gleason” — Unrest can be really hard to watch. Brea’s film, though, might be the beginning of hope for millions of sufferers who might see the film, and could be a conversation starter for additional funding into research.