Barbara Goslawski

A complex political statement, Amigo is epic in scale but trades the schmaltz of the traditional war film for a more resolute treatment of subject.

Fiennes' technique is extraordinary in its simplicity, balancing a literal prowl throughout his immense sculptural environs with a respectful observational distance.

Severe and unflinching, The Whistleblower relies on journalistic realism to pack its punch.

Akin to a stroll through a gallery, L'amour Fou is meditative and magically eye-opening.

While it matches "Pygmalion" and "Educating Rita" in topic and pedigree, Queen to Play merely hints at plot points and character development, which leaves it to coasts on the reputations of its stars.

The result is a lively mix of informative and enlightening storytelling, with a healthy dash of poignancy.

It's a simple story that gets the gentle nudge it needs to reveal its greater purpose. Probably too subtle for most tastes, the novel's reputation and its unique idea should draw people to cinemas.

As in "L'Humanité" and "Twentynine Palms," the director presents a cogent study of emotional excess with a sure handed control that harkens back to Robert Bresson.

Barney's Version is one of those rare films whose caricature of life undeniably illuminates. It's the vivid story of the topsy-turvy character so flawed you love him despite yourself.

Stone is highly charged and vibrant, and pits Edward Norton against Robert De Niro for two utterly electrifying performances.