Patrice Chereau's portrait of a marriage en crise is an excoriating look at the deep unhappiness that can fester within the most respectable-seeming of households.

Equal parts soap drama and ham-fisted morality tale.

Frei assembles a fascinating profile of a deeply humanistic artist who, in spite of all that he's witnessed, remains surprisingly idealistic, and retains an extraordinary faith in the ability of images to communicate the truth of the world around him.

Kurosawa's farewell film is full of sentiment, tears, toasts and songs.

The main event is the Mamet-esque battle of foul words between vintage hard-case Ray Winstone and the seething sociopath played by Ben Kingsley.

Talented Englishman Schlesinger had an unerring eye for capturing the grimy reality of New York, even if his directorial style is more jittery than is really necessary.

Held together by the sheer power of Klaus Kinski's performance as the vampire, Nosferatu, the Vampyre evokes several scenes (practically shot-for-shot) from the Murnau classic while slightly altering some of the original's thematic structures.

The film ends on an ambiguous note that will infuriate some viewers and strike others as the only possible finale to Don's sad absurdist journey.

Margaret Brown's documentary is actually an examination of the racial divide in a city that claims there is none.

Neat and quirky, this is undoubtedly one of the freshest black comedies around.

This is a powerful, important and, in the end, profoundly poignant movie dedicated to the lives of men and women who fight wars and shoulder the burden of becoming "heroes" to help the rest of us make sense of what remains incomprehensible.

This rich, complex and surprisingly entertaining film also becomes a meditation on filmmaking and the parallels McElwee finds between cinema and, of all things, smoking.

The result is a rich and touching exploration of the vagaries of fortune, literary reputation and, above all, friendship that works on several levels at once. The soundtrack includes songs by Joy Division, New Order and Le Tigre.

Handsomely appointed and faultlessly acted, but no more alive than a well-dressed corpse.

More of the same from Taiwanese auteur Tsai Ming-liang, which is good news to anyone who's fallen under the sweet, melancholy spell of this unique director's previous films.

The weight of the film rests on the shoulders of Hawke and Delpy, and they're both remarkable.

The multitalented Jaoui and Bacri excel on every level; her direction is efficient and unobtrusive, their script dissects the nuances of corruption by celebrity with a razor-sharp scalpel, and they deliver a pair of subtly unsparing performances.

The film stumbles a bit towards the end (some deeply rooted conflicts are implausibly resolved), but terrific performances from a large cast -- particularly Elizabeth Pena as Sam's childhood sweetheart -- smooth over the rough spots.

It's a bit like a Chinese "Splendor In The Grass."

Forget haunted houses and the mountains of the moon: There's no better environment to show off the wonder of the immersive IMAX 3-D experience than the deep blue sea.

Dennis Hopper and Bruno Ganz are superb in Wim Wenders's The American Friend, a gripping Hitchockian thriller based on a novel by Patricia Highsmith.

Even those who dismiss Von Trier as a talented sadist might reconsider after seeing this revealing and ultimately poignant documentary -- and the funny thing is, on the surface it's not even about him.

Despite an intelligent title performance by Ben Kingsley and impressive cinematography in the manner of David Lean, this huge, clunky biopic offers less than meets the eye. Director Attenborough seeks not to understand but to canonize his subject; as a result, both Gandhi's teachings and the complexities of Indian political history are distorted and trivialized.

Martial arts spectacles don't come more spectacular than this, and Yuen bestows a quality of grace on the entire production.

Jane Campion has established a reputation for making slightly off-center films in which regular folks get glimpses of the darkness that lurks beneath the surfaces of their lives. An admirer of Frame's novels since she was a teenager, Campion builds her film around a heroine who defies Hollywood conventions; she's not beautiful or sexy or sophisticated, and her adventures are mostly intellectual.

Although occasionally bleak, the film affords many pleasurable moments, showing early man learning to laugh and expressing delight and amazement at the sight of fire.

McCarthy's flawless casting may be the film's greatest strength: Veteran character actor Jenkins and his costars vanish into their characters -- their performances are so subtle and unforced that they don't feel like performances at all.

The performances are first-rate (finally free of the casting constraints, Hitchcock displayed--in 1972's Frenzy as well--a deliciously offbeat taste in performers) and the screenplay by Ernest Lehman (North By Northwest) is a witty model of construction. The humor is more obvious and subversive than any of Hitchcock's films since The Trouble With Harry.