Down Terrace is so intimate and hilariously offhanded (a hit man shows up for a job pushing his 3-year-old in a stroller) that it is all the more shocking when murderous violence finally erupts about halfway through.

The result is somewhat elliptical but also thoroughly engrossing and propulsive. Compared to Denis' earlier work, it's practically an action movie.

Popping with intrigue, intelligence and colorful New York characters seemingly straight out of a paperback potboiler.

Audiard's craft is still arresting, and the film hums with beauty, vigor and blood.

Beyond the Hills is an undeniably difficult (not to mention lengthy) film to endure. But for those with the fortitude, there is grace and enlightenment hidden in this harsh Romanian winter tale.

Takes a little while to find its way but becomes steadily more compelling as Lenny's character and considerable issues come into focus.

Falls somewhere between the kind of trashy, campy romp that's on movie channels in the middle of the night (though with far superior acting and production values) and the dark psychological thrillers of Kim Ki-duk.

Puss in Boots isn't particularly deep, nor does it take itself seriously -- it just wants to seek glory, win affection and cash in. Done, done and done.

Fans of European cinema will recognize in Barbara the calling cards of director Christian Petzold: the icy, quiet intensity of his muse, Nina Hoss; pretty but strangely unsettling shots of the windswept east German countryside; and subtle subversions of the thriller genre wherein the suspense is drawn from decisions made in mundane settings, such as the workplace.

What saves Kisses from its missteps is the chemistry between O'Neill and Curry.

The plot doesn't really stand up to scrutiny, but Cairo Time works on an emotional level and is a hassle-free way to sample Egypt.

Storywise, Heartless is a bit of a jumble, especially in its last third. But it's got a distinct tone, contrasting romance and even outright sentimentality with urban dread and a few nasty visuals.

It's technically impressive but sluggish, with an uneasy mix of cute and gloom. It occasionally finds an effective balance -- mostly in the scenes that explicitly recall the book -- but inevitably lacks Seussian soul.

The actual differences between Christians and Muslims are largely arbitrary, even irrelevant, so isn't it absurd to kill each other over how each group relates to God?

Anchoring a terrific cast is Bernal, who gives one of his best-ever performances.

All that talent behind and in front of the camera is mostly wasted due to a rare substandard screenplay.

The biggest problems are Solondz's themes of forgiveness and glib, misplaced patriotism.

While Daniels' work disappoints, his film is saved from disaster by uniformly terrific performances.

What's even more amazing about the actor's absorbing, sometimes depraved performance is that while the film around him is generally cheesy and obvious, Washington is to-the-bone real.