n a remarkable directorial effort, Eastwood shows a great flair for atmosphere and composition and presents a nuanced, complex, humane portrait of Parker's talents, obstacles, virtues and failings. Whitaker gives a towering performance as the tortured musical genius, and Venora is equally impressive as the independent, compassionate Chan.

Tsai finds great beauty in streets of Kuala Lumpur particularly at night, making this gorgeous film one that should be seen on a large screen in the total darkness of a theater.

A superior thriller, Play Misty For Me proved that popular actor Eastwood could direct himself in a film, concentrate on every aspect of the production from the visuals to the performances, and complete the shooting ahead of schedule and under budget. What he delivered was an engrossing study of how loneliness and longing can be transformed into irrational rage after a thoughtless act of selfish indulgence. Much of the credit must go to Jessica Walter for her outstanding performance which somehow manages to be chilling while at the same time sympathetic.

28 Weeks Later is flawed -- the constant reappearance of one key character verges on the absurd -- but it knows where it's going, and it gets there in a chilling blaze of fire, blood and poisonous fog.

Nolan's intention was clearly to cast the material in a more conventional Hollywood mold without turning it into namby-pamby nonsense, and he succeeds admirably.

With consummate grace and exceptional style, Terence Davies transformed Edith Wharton's caustic tragedy of manners into a somber, languid dream.

Powerful and startlingly unsentimental.

At a little over two hours, there's a lot of Langlois to digest. But cinephiles won't mind a bit: Richard includes tons of great anecdotes and clips from classic films that wouldn't exist if Langlois hadn't saved them.

Lafosse's razor sharp dissection of relationships strained to the breaking point is hypnotic in a road-accident kind of way.

The film has enough adventure and excitement to satisfy, and the faintly bittersweet note of the ending is made deliciously palatable by its artistic rightness.

A romantic victim to the end, this Ian Curtis is all that worshipful fans could ever hope for.

Not much happens in this gentle-hearted, black-and-white film from Argentina, but it's what doesn't happen that makes it such an unusually satisfying experience.

A superior western that mixes fine cinematography, terrific performances, and a script of higher caliber than most to produce a film still fondly remembered today.

A superbly restrained piece of filmmaking, with Zinnemann directing in simple, unadorned style and Hepburn giving a truly radiant performance.

Bleak and beautiful, GAS FOOD LODGING is a richly evocative look at lives in waiting.

Intelligently acted but oddly stagnant adaptation of Brian Morton's acclaimed novel.

Its imagery is never less than breathtakingly beautiful, and is occasionally truly awesome

A perversely fascinating movie--one that answers no questions, offers no hope and has little meaning. In a way this is perfect for what the film has to say about war, but you find yourself numbed and apathetic as the film progresses.

The entire cast is superb, but the standouts are Bankhead, as the spoiled, wealthy dilettante writer whose expensive furs and jewelry are worth more to her than the lives of her fellow survivors, and Bendix, as the compassionate but not-too-bright stoker whose gangrenous leg poses a threat to his dreams of returning home to dance with his sweetheart.

You'd have to be a grump not to like this funny, sentimental blend of pathos, drama and zaniness.

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.

The Witches weaves many classic childhood fears into its entertaining--and genuinely eerie--action.

The onslaught of one-liners and sight gags in AIRPLANE! is so relentless that even the most dour viewer is ultimately won over--or exhausted.

It's as hard not to ask what former New York Doll David Johansen is doing in their company, prancing his way through an irrelevant version of Howlin' Wolf's "Killing Floor," as it is not to wonder why the audience is so overwhelmingly white.

Richly plotted, alternately inspiring and horrifying, Glory is an enlightening and entertaining tribute to heroes too long forgotten.

Swinton lends Margaret an air of grace under pressure, and fleshing out feelings of domestic dissatisfaction -- a key element that otherwise remains buried in the subtext.

A huge hit in France, this ensemble drama revolves around two very different social groups whose encounters with each other change several lives in surprising ways.

This quietly gripping film is both universal and particular.