Hassan Yektapanah's first film attests to the deceptive simplicity of Iranian cinema, transforming the most minimal of props, scenes, and stories into a complex journey of discovery.

The actors are charismatic, particularly Ricardo Darin.

Bear Cub casually pulls off an amazing feat--combining innocent childhood nostalgia and graphic sexuality.

By the film's underwater finale, director Matteo Garrone has bestowed a tragic stature on the pint-size Othello who loves "not wisely but too well."

A magnificent performance by Sarah Polley illuminates every frame of this relatively upbeat melodrama.

The excellent cast in Christophe Barratier's loose remake of a 1945 Jean Dreville film ensures that the predictable, nostalgic ride remains enjoyable throughout.

Unfortunately, instead of the usual larger-than-life male figures--Marcello Mastroianni, Harvey Keitel, Bruno Ganz--of Angelopoulos's recent films, we get a distractingly vapid couple who tend to drain the emotional resonance of these extraordinary, ever-shifting tableaux.

Hadzihalilovic, the wife of cinematic agent provocateur Gaspar Noé and his sometime collaborator, has created a work of limpid beauty and eerie menace that some undoubtedly will dismiss as kiddie porn.

Laurien van den Broeck's masterful unblinking performance transcends the uneasy all-English dialogue.

Effortlessly interlinking the stories through the jaunty perambulations of a fresh-faced waitress from a local cafe, Thomson's crowd-pleaser makes up in refined schmaltz what it lacks in innovation or profundity.

Celebratory, family-friendly fable.

The ease with which the perky, big-eyed heroine ingeniously succeeds in improving the lot of everyone around her and the painterly manner in which reality in every inch of the frame is "improved" constitute both the "quirky" charm and the pure fishiness of the film.

A killer ending does not a movie make, and ultimately In the Bedroom may be more interesting to talk about than sit through.

A bathetic TV-movie-type "learning experience" that provides about as much insight into teenagers as 40s westerns did into Indians--it's all in the costumes and customs.

Gentle, muted film of limited aesthetic ambition.