The story didn't fully answer all my queries about the characters, but did such a nice job of keeping me interested that I wound up appreciating the mysteries that remained.

It goes beyond sympathy and authenticity to insight as it examines the plight of a man who loves a man but feels he must love a woman.

To my taste, the only serious drawback to this absorbing film is Harris's unimaginative adherence to documentary convention, which obliges him to "illustrate" the voice-overs even when the material matches the narratives only in fictional terms.

Despite its mawkish tendencies, the film is remarkable for the naturalistic acting of its cast, particularly the simple, tenderly expressive performances of the two leads.

Dark fantasy triumphs in this gorgeously animated surrealist adventure.

An entertaining and atmospheric revenge tale.

Scary and exciting.

Compelling collection of three loosely connected vignettes.

The film is unsparingly gritty, but with a woman's tenderness it also grants the characters an occasional moment of grace.

Has its faults, but it's Barbet Schroeder's most relevant and interesting film in over a decade.

The first half of the film, in which Maglietta gradually discovers herself as something other than a servant, is genuinely engaging.

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.

This is the first feature I've seen by writer-director Dominique Deruddere, and I hope it won't be the last.

An experimental feature that keeps shooting off its ideas like an endless row of skyrockets, Kikujiro ultimately conveys this grief with such sustained intensity that it can only leave a scorched path of devastation in its aftermath.

Writers Liu Fen Dou and Cai Xiang Jun and director Zhang Yang move freely and gracefully between fantasy and reality in this sentimental film, which never becomes as trite or calculated as you might fear.

A movie to savor.

Funny? This one is. It's also sweet and thoughtful.

The theories about sexuality and trauma artfully advanced in this previously unreleased 1975 debut of director Catherine Breillat (Romance, Fat Girl) are more nuanced and intuitive than those of most schools of psychology.

In this uproarious and often scathing debut feature, writer-director Frank Novak charts the dissolution of a working-class marriage.

This is why movies were invented.

Karen McCullah Lutz and Kirsten Smith's script has its witty moments, and some of the secondary characters--such as Larry Miller as the father and Daryl "Chill" Mitchell as an irritable teacher--are every bit as quirky as the leads.

Whatever else it may or may not be, Primary Colors is first and last a mainstream Hollywood entertainment. And that means that viewers looking for engagement with political issues are bound to be disappointed.

Leisurely pacing of this kind is likely to register as a form of respect for the viewer's intelligence and observation.

An extraordinarily subtle, witty, and nuanced work.

Mesmerizing dark fable, which also contains moments of comedy and action that don't disrupt its oddly earnest tone

The casting of Michael Douglas against type as an over-the-hill novelist and writing professor is the sort of clever move that wins undeserved Oscars.

A text that provokes thought more than directs it, which should fascinate new and repeat viewers for a long time.

Audaciously combining conviction and childish humor, this SF thriller reminds us that the distinction between the tangible and the intangible may be frighteningly arbitrary--an idea that's made too scary ever to seem trivial, no matter how silly things get.