Patrick Z. McGavin

Creates an atmosphere of frenzy that is both powerful and unforgettable, providing neither solace nor comfort.

The work of a remarkable new talent. By the movie's towering, final tracking shot, this imaginative, dazzling film achieves distinction.

Daring and beautifully made, Zhang Yang's Quitting plays like a Chinese "Rebel Without a Cause."

The film recalls Martin Scorsese's "Mean Streets" and the minimalism of films such as Lars Von Trier's "The Idiots." Eason and cinematographer Didier Gertsch keep the cameras tight on the actors' bodies and faces, creating palpable unease.

Magnetic, beautiful stuff.

The movie belongs to the women, and they perform with attitude and power.

Though the result is a distant, hyperstylized exaggeration of form and movement, the film itself turns repetitive and exhaustive.

Costa-Gavras' powerful, awkward Amen is a dramatically uneven historical thriller.

The movie is rich with detail, characters and a specific historical context, even if its narrative is incoherent. But its cheap, gauzy veneer and primitive special effects are fun on their own terms.

Wong Kar-wai made a much more dynamic film, "Happy Together," five years ago. Lan Yu suffers by comparison.