A mesmerizing odyssey through the mind of a uniquely talented performer, as well as through one of the gorier chapters of modern history.

Never the most optimistic of poets, Sokurov does suggest the possibility of dialogue on the individual level, and the hope that by asking difficult questions of one another, these mortal enemies can find answers and reach an understanding everyone can live with.

May be the best film to date about the humanitarian and environmental impact of China's enormous Three Gorges Dam project.

A courageous and serious film that explores the limits of the mythic American virtues of persistence, inventiveness, and rugged individualism.

A great movie is something more than the sum total of all its parts, and here, the elements all come together to form a feature that speaks a universal form of optimism that isn't likely to get lost in translation, no matter where it screens, or who is watching.

Although the film plays a little too heavily on this patriotic theme, its simple boy-and-his-horse story is beautifully effective.

Amazingly, not all of the witty and wise barbs are Wilde's, and any confusion between the old and the new is probably the highest compliment one could possibly pay to screenwriter Howard Himelstein's tart screenplay.

Driven by Edward Norton's and Evan Rachel Wood's riveting performances, writer-director David Jacobson's tense drama samples bits of cinematic Americana from sources as diverse as "Shane," "Badlands" and "Taxi Driver."

The accolades are typically gushing - Bono likens Cohen to Byron and Shelley.

The true star of this nerve-racking family crime drama, shot with a minimum of fuss by Ron Fortunato, is playwright and first-time screenwriter Kelly Masterson's deft script, which carefully develops each fatally flawed character and tells their stories in achronological flashbacks that seamlessly fit together like a jigsaw puzzle.

Besides its exhilarating style, the well-acted film works as an effective translation of the classic Greek myth into a Brazilian romance. (Review of Original Release)

Filmmaker AJ Schnack's hauntingly beautiful film is a bold and successful attempt to recover the human being who disappeared under the heavy mantle of "face and voice of a lost generation," and whose life has been increasingly overshadowed by his sensational early death in 1994.

With a screenplay from first-time screenwriter E. Max Frye and superior performances from his principal cast, Demme has created a unique and likable film.

While Parenthood crosses the border into schmaltz a number of times, the movie runs the gamut of realistic emotions, and one scene or another is bound to hit home with the parents who see the film.

Svankmajer has crafted his finest live-action feature to date.

It's a high-energy blast.

It's a defining true crime story for the Internet age.

So if you're looking for the next stop on the Shockingly Experimental Comedy train, don't get off here -- this ride is strictly for laughs.

Rarely do movies portray the elderly with such admiration and respect.

The result is flashy -- first-time directors Larry and Andy Wachowski never miss an opportunity to show us red, red drops of blood against brilliant white -- but pretty good fun, especially if the thought of Tilly in a succession of thigh-high bandage dresses makes you sweat.

A rare treat for cinema lovers starved for the days when scruffy newspaper reporters fearlessly sniffed out corruption, State of Play delivers the kind of conspiratorial thrills that would have made Pakula proud.

Wood is excellent, but this is a career highlight for Douglas. His depiction of the manic Charlie stays surprisingly grounded and prevents the story from being a naive celebration of mental illness as a kind of freedom that it so easily could have become.

Does find a spot closer to the middle than most.

All that matters is if it's funny -- and it is.

Neil Armfield's film hits hard because it sensitively shows how life on drugs can never be about anything else, and how the real horror of addiction is not what users do to themselves, but what they do to each other out of loneliness and despair.

The film's prestige is a doozy, both dazzling and preposterous, but if you're watching closely -- as Cutter advises in the film's first few minutes -- it's flawlessly set up.

A remote, Israeli desert town is the setting for this droll, endearing comedy about an accidental cultural exchange that very quietly says some very important things about contemporary Arab-Israeli relations.

With Mifune's tongue-in-cheek performance and the wildly stylized battle scenes featuring mallet and pistol-wielding samurai, YOJIMBO may just be the first post-modern samurai film.