Kevin Thomas

Watching Marwencol, Jeff Malmberg's probing documentary on Hogancamp's undertaking, is an exhilarating, utterly unique experience.

It's handsome, large-scale escapist fare - and has as its costar the formidable, versatile Kristin Scott Thomas.

Dzi Croquettes is both a tribute and a terrific entertainment.

Instead of underplaying the story's escalating tempestuousness it pushes it over the top; time and again the film begins to catch fire only to be doused in silliness.

Anubhav Sinha's exhilarating fantasy Ra.One is Bollywood at its best. It has energy, spectacle and humor, song and dance, but razzle-dazzle special effects and action stunts never overwhelm its story of enduring love that unfolds amid an intricate and inspired sci-fi odyssey.

Replete with superior acting and visual splendor, the film is a fine instance of the overly familiar made fresh.

Silent Souls is a marvel. Fedorchenko's expressive powers and his visual prowess are astonishing, and though the film's conclusion is abrupt and confounding, it feels right.

Finding Joe is so centered on the self-realization of the individual that it provokes one to contemplate the millions of oppressed, imperiled people that haven't the luxury of pursuing such an inner quest.

Warrick finds subliminal messaging in political campaigns, military operations and even in the music played in big box stores. Warrick is also rightly concerned by the power of media conglomerates to manipulate the news.

Much in this wholly absorbing and poignant documentary is familiar from numerous previous Holocaust accounts, but Mago and her quiet sense of moral obligation provides a fresh perspective.

Special Treatment is a serious film, but Labrune allows a touch of dark comedy in her depictions of Alice's clients and Xavier's patients.

It has opulent, stylized settings of elegance, grandeur and scope, flawless special effects, and awesome martial arts combat staged by the master, Sammo Hung. Yet bravura spectacle never overwhelms either the plot or the key characters. Chang Chia-lu's intricate script bristles with wit and suspense; the film from start to finish is a terrific entertainment.

A rousing example of Bollywood-style pure escapist entertainment.

An exquisite, intimate film of restraint and delicacy.

First-time writer-director David Robert Mitchell tells a coming-of-age tale with such freshness and such bemused insight it's as if it has never been told before.

Singham is as boldly overwrought as an early silent melodrama, and its comic relief is extremely broad.

A beautifully structured and photographed film, John Turturro's rapturous Passione offers a vibrant exploration and celebration of Neapolitan music in all its grit and glory, presenting 23 musical numbers that encompass a millennium's worth of influences.

Despite a capable cast and attractive Baton Rouge, La., locales photographed by Bobby Bukowski, The Ledge suffers from a seriously flawed script that's just too implausible to be taken seriously.

It's an eye-popping wake-up call revealing how the USDA and FDA have increasingly waged war on America's small farmers even when they can prove they are contributing healthful products to our food supply.

Akshat Verma's script is imaginative and funny, the film's stars are engaging and Delhi Belly adds up to pleasing escapist fare.

Might be too much for some audiences, but it is a potent and surprising work.

The film is amiably silly, gaudy and even pleasantly diverting for the non-Hindi-speaking viewer who realizes that the verbal gags that elicited laughter in the original language tend to elude translation via English subtitles. The comedy, however, is also heavy on slapstick, pratfalls and crazy disguises.

In her vibrant !Women Art Revolution Hershman focuses on a number of the many women who created what has been called the most significant art movement of the late 20th century.

In its masterful use of evocative imagery and music, Road to Nowhere is flawless.

Has enough going for it to make it likely worth the effort for fans of Asian cinema, but it does seem an opportunity missed.

For all its poignancy, Spork never loses sight of its goal to be zesty, sharp-witted fun.

A flawless gem, a gentle yet ultimately ironic meditation on the power of art.

Alba gives such a focused, interior portrayal that she just might have managed to carry the movie had it been better.