A generation-spanning journey that feels both comfortingly familiar and excitingly original.

Feuerzeig's film - everything a good documentary should be - is a story of family, friendship, art and fame, as seen through the prisms of exceptional beauty and deepest pain.

Andrew Bujalski's considerable gifts begin with his deep appreciation of the miserable, hilarious awkwardness of real life.

It's the perfect antidote to overprocessed entertainment, for moviegoers of any age.

Joachim Trier's energetic, inventive debut takes such a novel approach to well-worn themes that it makes most movies look downright lazy.

The result is an often-anguished monologue built on pride, despair and self-defense. Accuracy aside, Tyson does work hard to analyze his own, clearly complex character. So while we only get half the picture, it makes for consistently compelling viewing.

Schrader and Nolte are both at the height of their expressive powers in a film that, in its concentration and sobriety, leaves a lasting impression.

Garbus spent three years patiently mining for beauty in the ugliest of environments. The remarkable result stands as a challenge to anyone who would have seen only the worst and walked right by.

Steven Spielberg's best war film -- and one of the two or three best movies the director has made.

Here is something great and startling -- not necessarily the kind of comforting, consensus-creating film that wins Oscars, but unquestionably a movie that will live in the history of the medium.

One of the freshest, richest, most original films to come out of Hollywood in a very long time.

When was the last time you had your mind blown by a movie? Because when Inception ends and the lights come up, you'll be sitting in your seat, staring at the screen, wondering what the hell just happened.

Every scene has its highlights, from amusing observations about sex to poignant truths about parenting and partnerships. But what you'll remember most is the exquisitely lovely final scene, in which Cholodenko reminds us that all we need is a single moment of perfection -in a family, or even in a film - to believe that somehow, things will always be all right.

If you've had a hole in your heart since "Everybody Loves Raymond" ended, Tom Caltabiano's low-key documentary about star Ray Romano ought to fill the gap nicely.

If he has overlooked your favorites, have faith: There’s plenty left in the trunk for that promised encore.

Director Matt Reeves (who also made the much rawer "Cloverfield") so deeply understands the nature of childhood terror that Let Me In burns with a white-hot clarity.

All the actors are wonderful, including Sacha Baron Cohen as a villainous Inspector.

Kore-eda does extraordinary work with his young cast, who deliver gentle, natural performances in a beautifully told story of heartbreak and hope. Deceptively modest and utterly lovely, it's one of the most magical films about childhood I have ever seen.

Every moment feels human and true, from the naive optimism of the trip's sendoff to its unsparingly realistic conclusion, which trades reckless hope for quiet honor.

Even those who've long noted Polley's intelligence on screen will be amazed by the perception she displays as a filmmaker.

Bursting with so much amped-up energy, you may need to rest once it's finally done.

Bujalski celebrates the awkwardness of twentysomething life, allowing Dollenmayer to create a beautifully authentic portrait.

Happily, Morrison's actors grasp his intentions perfectly, shading their roles so well that we never quite get a handle on anyone. Each player is outstanding, but the highest praise must go to Weston.

Straightforward and immensely powerful, the movie offers a blunt assessment of the war from soldiers currently fighting it, and their perspective is not pretty.

Goldfine discover so many fascinating themes within their seemingly narrow subject that anyone with the slightest interest in history or human nature will find it absorbing.

Rarely do adaptations of stage plays work on screen, and almost never do they work as well as this one does. Most remarkably, the dryly comic "Moon" is virtually a one-man show.

Director Jafar Panahi has long been an eloquent and passionate representative for Iranian women. But judging by this deeply poignant comedy, they may not need a mouthpiece much longer.

Riveting update of George Bizet's "Carmen."