Hoch's very funny satire on racial stereotyping cuts both ways.

The movie belongs to Nelson, who displays a natural screen charm, but Rip Torn also contributes an excellent performance as a good ol' boy concert promoter.

If the sign of good documentary is its ability to enthrall you regardless of your prior interest in the subject, then Stacy Peralta's hugely entertaining film earns high marks.

This ultra-stylish film is far more interested in exploring its own central image -- the camera -- than the forensic minutia of the mystery.

Exceptionally satisfying and enormously entertaining.

Irwin's film comes as a bracing reminder of what punk was once all about, and will hopefully serve as an inspiration for better bands to come.

A gentle, offbeat drama that hails the arrival of a new talent in writer-director Eric Mendelsohn, and bids a poignant farewell to a uniquely gifted actress, the late Madeline Kahn.

Roundly condemned (though not banned) by Church officials in Mexico, the film became a smash hit -- probably in part because the public wrangling gave it an enormous publicity boost.

Director Martin Brest has allowed the actors to improvise, and their resulting interaction is more realistic, funny, and surprising than that of any buddy film released in the last several years.

No doubt about it: Unlike David Lean's much-loved classic, Cuaron's film is loosely based on Dickens. And that's just fine.

In an outstanding ensemble, Spall is particularly good.

A psychologically acute profile of one teenaged girl obsessed with leading what she thinks of as normal life.

That this handsome, three-hour extravaganza coheres at all is a small miracle; that it actually leaves you wanting more is a major one.

Fans of the genre are in for a wickedly entertaining treat.

"There is no antidote for the human bomb," one Sri Lankan official flatly states, but Ziv's film offers a number of important insights into a phenomenon that's only gaining momentum.

Dong shows how intolerance has the power to deform families, then tear them apart. At 75 minutes, the film is too short; each story deserves a full hour of its own.

Sometimes seems as noisy and unrefined as Jean himself. But it has just as much heart, and builds up to rousingly "Rocky"-like climax.

The film draws careful parallels between orthodoxies and in his own quiet way, Masud, a devout Muslim, level his critique at repressive political regimes and religious doctrines, and those who dangerously confuse one with the other.

Longley has constructed a remarkably coherent, horrifically vivid snapshot of those turbulent days.

This winning comedy joyfully embraces every possible permutation of love; cupid, it turns out, is indeed blind, and doesn't care much about gender either.

Hypnotic film.

A welcome introduction to yet another facet of an artist who continues to beguile well into her seventies.

John Walter's documentary suggests that Johnson, who made no distinction between his life and his art, designed every detail of his own mysterious 1995 suicide with the same whimsical care that went into his painstakingly assembled pieces, and provides an engaging overview of Johnson's eccentric career in the process.

The film has a gentle political edge, knocking Marxists and Christian Democrats with equal cheerfulness, and Troisi's self-deprecating humor, sly delivery, and melancholic charm are inimitable.

The characters may be one-dimensional ciphers with nothing much to say, but boy, do they not say it with style.

Familiar story, electrifying execution.

More high - but strangely touching - weirdness from acclaimed Japanese auteur Kiyoshi Kurosawa.

Remarkable film.