A thrillingly, thoroughly wonderful film.

A stunning drama that's distinguished by a magnificent performance; the most powerful scenes are those that play, as recollection or confession, on Lena Endre's lovely face.

The team's (Merchant-Ivory) best adaptation yet of a Henry James novel.

Proves to be a remarkably lean and incisive film about the fateful power of sexuality.

A stunning drama about the desperate state of women in Iran.

Vincent is played masterfully by Aurelien Recoing, who gives him a sort of as-if anomie; this haunted hero is so detached that he may not realize he has no real life to be detached from.

See The Magdalene Sisters for its own sake; the performances alone are inspirational. But see it too as an example of how powerful a feature film still can be in the hands of an impassioned filmmaker.

The good news about Claude Lelouch's And Now Ladies and Gentlemen -- there's no bad news -- is that the man who made the sublimely superficial "A Man and a Woman" almost four decades ago has grown in wisdom and artistry, but hasn't lost his love of glossy surfaces.

This portrait of a failing marriage is one of the summer's great discoveries, and a marvel of mercurial intimacy.

Like his (David Gordon Green's) debut feature of three years ago, the exquisite "George Washington," this new one has my heart, and I think it will have yours.

Who doesn't need what this movie has to give?

A marvelous story.

A smart, funny and strangely touching film.

I loved this movie, and I wish it could be seen by all those kids who turn out every weekend for shoddy studio comedies that show them who they'd like to be. Raising Victor Vargas shows young lovers as they are.

A deeply serious and seriously hilarious fable of the lunacy of war.

Whatever thematic clarity the added footage may confer is prosaic or didactic and intrusive; this stuff hit the cutting-room floor the first time around for good reason.

Terrifically funny and remarkably wise, a comedy that speaks volumes, without a polemical word, about the tension between rigid politics of any stripe and the imperatives of life and love.

Meticulously crafted and beautifully performed.

This is a woman's work in the best sense -- empathetic, inferentially erotic and delicately intuitive, as well as fiercely intelligent.

(Morton's) character here is emotionally mute -- though Morvern speaks, she can't or won't reveal what's in her heart -- and her performance is brilliant from start to finish.

Mr. Tykwer's hands the movie changes almost magically from drama to chase to romance. As it does so its moral weight lessens; by the end there is less than what first engaged the mind. What meets the eye, though, is unforgettable.

Pulls you in with smooth assurance, then holds you hostage to extremely creepy developments in the most awesome haunted house since "The Shining."

The result is an enchanting story of love from an idealized past that endures in the mundane present.

The explosively combative young hero, Liam (a brilliant performance by Martin Compston), has only the illusion of a fighting chance. Yet Sweet Sixteen is powerful because of the searing honesty with which it strips Liam of his illusions.

Now the movie can be seen for what it was all along, remarkable by any standards.

Better than a feelgood movie, it's a feelgreat movie -- genuinely clever, affecting when you least expect it to be and funny from start to finish.

A wickedly astute and beautiful comedy of manners-cum-murder mystery, it's too dense, and occasionally confusing, to grasp fully the first time around. How lucky, then, that it's also too much fun to see just once.

Depends on comic timing so precise that it seems weightless and all but effortless. And it depends on performers, of course, who can do a comic turn just as readily as a deft writer can turn a phrase. In that department, Ocean's Eleven is at least 11 times blessed.