Two arthouse "worlds" collide with amusing and intriguing -- if hardly earth-shattering -- results in cult Korean writer-director Hong Sangsoo's In Another Country.

That interplay between work and life gives the project its distinctive perspective and offers the most acute revelations. The lack of talking heads commenting on her enhances the intimate feel.

The filmmakers succeed brilliantly in weaving these stories together, taking time to explore depth of character and relationships. The suspense builds throughout as everyone involved becomes lost in a place they don't understand with people they don't know if they can trust.

Ambitious and intricately plotted — at times distractingly so — the bilingual feature is an uneven genre ride, but its appealing cast and multicultural twist on a familiar format help to smooth the rough spots and keep things engaging, if not entirely satisfying.

There is a lot of very black humor; and it develops, somewhat surprisingly, into something suggesting a kind of cheerful pessimism.

The best blue collar action movie in who knows how long, this tense, narrowly focused thriller about a runaway freight train has a lean and pure simplicity to it that is satisfying in and of itself.

Visually stunning and strongly voiced, but doesn't take any real risks.

The material doesn’t always feel fresh enough, despite the unique setting and cast of true-to-life characters.

Despite the predictable touches in the script by Mark O’Halloran, director Paddy Breathnach reveals a sensitive touch with the material.

Making good use of his camera-department experience on Anthony Bourdain's No Reservations and elsewhere, Shirai seeks out the visual appeal of both the brewery's operation.

A thorough knowledge of Israeli history and politics would be helpful for viewers, as Rabin in His Own Words is sometimes sketchy and scattershot in its narrative. But its subject emerges as a thoughtful and articulate chronicler, and the wealth of footage presented, including rare home movies, is consistently fascinating.

Kamiyama, a vet of the Ghost in the Shell franchise, brings plenty of sci-fi genre ingredients to what at times might look like a Miyazaki coming-of-age adventure. Though occasionally lopsided, the mix works well.

The film is, at its strongest, an inspiring sensory immersion in that performance, one in which the (mostly unidentified) plants are the stars. A complex, dimensional portrait of Oudolf never quite emerges, though, and the brief doc, however lovely, lacks an essential dynamism that would make it truly compelling.

Like the structures it is named after, the movie hinges on a rudimentary narrative that builds in momentum as the plot progresses, leading to a single act of defiance in the final reel.

An atmospheric slice of vintage Americana that shows there’s plenty of life left in seasoned Western archetypes, Old Henry gets much of its mileage from the somewhat unexpected lead casting of Tim Blake Nelson.

The evocative sense of a place frozen in time and the raw feelings behind the family dynamic ultimately carry the film

An eye-opening sociological examination that is alternately moving and tedious.

Martial-arts lovers may find it too arty, and art-film lovers, Wong's international fan base, may find it too generic and too violent.

Many flashbacks to the children's early trauma, along with other scenes, are unnecessarily repeated several times.

Moll crafts a seemingly simple plot that gets increasingly tangled as it jumps from one character to another, taking some rather surprising turns but managing to make sense of it all by the last scene.

The film fails to provide many practical solutions to the problems it identifies. Still, it’s an effective piece of agitprop suffused with sadness over the decline of a rich part of the American heritage.

In "Virginia Woolf," George and Martha are locked into a symbiotic, disturbingly needy relationship that absolutely feed off their acidic battles. But for Revolutionary Road's Frank and April Wheeler, you wonder: Why don't they just get a divorce?

It's simply old-school stunts and movie magic.

Captures the excitement of the game as well as the intimate drama -- and comedy -- of the human conflict.

Steeped in the gory look, grimy feel and transgressive spirit of the so-called "video nasties" from the 1980s, British meta-minded horror movie Censor offers an admirable pastiche, spiked with black humor.

Well acted and smartly written, the film is an eye-opening sociological portrait that also manages to be a compelling human drama.

The best feature film directed by someone named Coppola in a number of years.

Kempner has done everything right by organizing her bountiful material into a fascinating portrait of a worthy personality and her era and touching upon related issues like the impact of the blacklist and the alchemy of celebrity.