Maintains a reflective, bittersweet tone that's almost tactile.

The last-minute details of plot can't compete with the frightening intensity of Kiberlain's and Garcia's performances, which trace, with brilliant precision, the exhausting mix of brutality and grace inherent in the mother-daughter relationship.

While it's Dave's madly humming brain that propels the film, Davis, whose every glance is a short story in itself, makes Dana's internal crisis equally resonant.

The superb ensemble never plays for sympathy, and the movie isn't as depressing as it may sound. Its hushed, contemplative quality is oddly affecting.

While Parker and co-writer Catherine di Napoli are faithful to Melville’s plotline, they and a fully engaged supporting cast — have made the old boy's characters more quick-witted than any English Lit major would have thought possible.

Kane believes in happy endings, but he makes his characters earn theirs, as each couple is forced, ever so subtly, to face its own inner nonsense. The filmmaker has divine actors at his disposal.

These women are smart, funny and wonderfully real, traits that one might safely attribute to Westfeldt and Juergensen, who also wrote the screenplay.

Mitchell -- gives a harrowing, beautifully conceived performance, the depth and arc of which can't be fully appreciated until the film's final scene.

Beautifully acted film remains deeply intelligent and always fascinating.

Captured extraordinary performances from a cast of non-actors, as well as magnificent images of a vast landscape.

Moving and vibrant Italian-language film.

Returning director Rob Minkoff (The Lion King) and screenwriter Bruce Joel Rubin (Ghost) have done a fine job of updating White's dry wit to a new age, led in no small measure by Lane, who could probably make the IRS code book sound funny.

Reynolds, working in close harmony with cinematographer Andrew Dunn (Gosford Park), brings an infectious brio and an occasional sweeping grace to the classic trappings of Dumas.

It's one of many references to the movie-wise, but a resonant one, for Glover's performance turns out to be shockingly emotional, drawn as daringly close to the bone -- within this story's limited thematic range -- as Anthony Perkins' work in Hitchcock's seminal film.

A resonance that is moving beyond all measure.

Those who can forgive the director's pretensions will discover some fine filmmaking.

For these gifted directors and their fine ensemble, the notion that every life forms into a mosaic of intimate, largely unobserved details is the story most worth telling.

For the first time in years, De Niro digs deep emotionally, perhaps because he's been stirred by the powerful work of his co-stars, including a subtle Frances McDormand and a ferocious Patti LuPone, as well as the heartbreaking (and achingly beautiful) Franco.

This is writer-director Hilary Birmingham's first film, and it's a lovely thing, as reserved and unfussy as its characters and, like them, full of surprises.

Looks drab and doesn't take very good advantage of its New York locations, but the neurotic intensity and emotional honesty of its two leads more than make up for it.

Accomplished and invigorating debut feature from Colombian-born director Patricia Cardoso that took both the Audience Award and a Special Jury Prize at Sundance this year.

Turns out to be that rarest of Hollywood creatures: a sequel that one-ups the original…These two smart, happy movie stars prove that silliness doesn’t have to be moronic.

Wise and moving.

Powerful war satire.

Surprisingly smart film.

Nair, who, in this film as in so many others, aims for the beating heart of the predictable movie moment.

Although parents of small children are advised to give the film an advance look, Holes may nudge older kids toward that most ancient of after-school distractions: reading.

This filmed record is a musical bliss-out.