This sleek and cleverly assembled film is a brutally honest portrait of an obsessive personality, a woman whose mania for control over her weight and the world around her fed her demons and fueled her art.

At a brisk 97 minutes, the film skips over many episodes that make Hahn's book a pulse-pounding page-turner, but offers her rare perspective on both sides of civilian life during those nightmare years.

General audiences will regret the absence of titles identifying various clips and interviewees, but Fellini fans will want to eat the whole thing up with a spoon.

Deneuve has never been better.

Dracula fans will appreciate the witty ways in which Maddin has drawn Stoker's troubling racism and xenophobia to the fore, while making the most of the sexual ambivalence that helps make the story endlessly fascinating.

The audacious finale, which plays out in a wholly symbolic realm, will leave even the most adventurous moviegoers scratching their heads. See it with a friend; you'll appreciate the second opinion.

Both farcical and deeply troubling, it unfolds with the kind of breathless, minute-by-minute immediacy that only eyewitness reportage can bring.

Hauntingly beautiful documentary.

Dark, cynical, but deliciously funny, Heathers is a fascinating look not just at high school but at the way we look at high school.

An exercise in audience manipulation, with every frame designed to stagger the senses.

Slickly entertaining documentary.

Richly imagined and resolutely unpredictable, this dark and profoundly optimistic paean to passion -- for glass, for horses, for the thrill of the moment after a coin is flipped but before it falls -- is held together by Gillian Armstrong's solid direction and by strong, if occasionally strident, performances from Fiennes and newcomer Blanchett.

Fatih Akin's surprisingly grisly feature spills more blood than both of Quentin Tarantino's "Kill Bill" films combined, which is strange when you consider that it's a love story.

Blends and recycles elements of scores of crime and road movies, from "Bonnie and Clyde" to "Badlands" but it does so with enough energy and verve to create something entirely fresh and infectiously entertaining.

It's a great achievement, quiet enough to allow room for her excellent supporting cast -- but strong enough to be felt over James Horner's omnipresent, typically overbearing score.

Punjabi weddings are notorious for their lavishness, and Nair's intoxicating soap opera revels in the sights and sounds of this clamorous family ritual.

Most mystifying, however, is the bizarre hero-worship surrounding the fingure of Kim Jong Il, a nationwide personality cult that makes Joe Stalin and Chairman Mao look like D-list celebrities.

Part documentary, part one-woman quick-change show and part sociological investigation, this is enthralling theater with a purpose.

As subversively clever as it is unsubtle.

The results are mildly comical and occasionally poignant. HEART AND SOULS was Downey's first film after his Oscar-nominated performance in CHAPLIN, but he refrains, thankfully, from pulling a star turn. Instead, HEART AND SOULS remains largely an ensemble effort, with skilled performances by all five of the lead actors.

Taut psychological thriller.

The most popular film in Indian history.

Engaging, high-spirited tale.

The wonderfully drawn characters and their soap-opera entanglements are dryly amusing and well played.

The accents are thick and the soundtrack noisy, but even as the screen explodes in chaos, Greenglass maintains a solid grip on the story.

Highlights how far we've fallen.

Like "Lone Star," this group portrait mourns a rapidly vanishing American landscape while acknowledging that the past, free of corporate homogeneity though it may have been, is never the unspoiled paradise it appears in retrospect.

By the time it's over, this deeply unsettling tale of romantic obsession strays far from the usual course of teen flicks and into some very dark territory.