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    REVIEW | Street Poetry: Ramin Bahrani's "Chop Shop"

    by Michael Rowin on February 25, 2008

    Scraping for a living in the shadow of that holy of professional baseball holies, Shea Stadium, twelve year-old Alejandro (Alejandro Polanco) does everything an impoverished, parentless, out-of-school 12-year-old can do to survive in the lowest depths of one of New York City's strangest and direst a...

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    REVIEW | Holding Court: Jacques Rivette's "The Duchess of Langeais"

    by Nick Pinkerton on February 21, 2008

    A chamber piece for two tragic almost-lovers, a coquettish Duchess and a noble French General. A chance flirtation at a Fauborg St-Germain party initiates an arduous campaign of romantic outflankings, accomplished through feigned illnesses, epistolary sallies, evocations of God, and threats of force...

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    REVIEW | Money for Nothing: Stefan Ruzowitzky's "The Counterfeiters"

    by Michael Koresky on February 21, 2008

    Let's get it out of the way first: Stefan Ruzowitzky's "The Counterfeiters" was nominated for a Best Foreign-Language Film Oscar, controversially at the exclusion of a handful of borderline masterpieces, from Cristian Mungiu's "4 Months, 3 Weeks, and 2 Days" to the upcoming "Silent Light" and "Secre...

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    REVIEW | Prep Rally: Jon Poll's "Charlie Bartlett"

    by Indiewire on February 19, 2008

    Who is Charlie Bartlett? A quirky know-it-all, a likeable dweeb, a guileless Ferris Bueller for our overmedicated age. Director Jon Poll and writer Gustin Nash's movie is about a teenager who gets kicked out of prep school, joins the hoi polloi, makes a name for himself as the student body's residen...

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    REVIEW | Shooting the Messenger: George A. Romero's "Diary of the Dead"

    by Michael Koresky on February 12, 2008

    There's a tendency in some high and low circles to instantly enshrine any new work from classic horror-meister George A. Romero, good-natured, jocular guy that he is, as a way of validating not only his formidable zombie oeuvre but also the seventies horror movie canon itself. Always the most overt ...

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    REVIEW | Soldier Boy: Newton I. Aduaka's "Ezra"

    by Michael Rowin on February 9, 2008

    No sugarcoating it: "Ezra" is a difficult film to watch. It isn't particularly graphic or gory, but its dramatization of children being kidnapped and forced into fighting--or, really, raping and pillaging--by rebel armies in Sierra Leone is extremely upsetting, and all the more terrifying for alludi...

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    REVIEW | Grace Notes: Eran Kolirin's "The Band's Visit"

    by Michael Koresky on February 7, 2008

    Though it's both a predictable culture-clash comedy and a gentle plea for people of different political backgrounds to "just get along," "The Band's Visit" nevertheless manages to use its central contrivances and inevitable cliches to its favor, and becomes something ethereal and winning. This debut...

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    REVIEW | Remote Lands: Nacer Khemir's "Bab'Aziz"

    by Michael Rowin on February 6, 2008

    It drops by the local art house every few months without fail--the "challenging" exotic import, too maddeningly slow and nonlinear for the "Pan's Labyrinth" crowd to cross it over to mainstream success, yet too naively earnest and moppet-dependent to impress a critical community taken with the more ...

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    REVIEW | Hit Me Baby, One...More...Time: Martin McDonagh's "In Bruges"

    by Nick Pinkerton on February 5, 2008

    "It's in Belgium," a frustrated voice-over informs. In the aftermath of a botched job, two London-based hit men are cooling off in the title city. It was the maiden murder for Ray (Colin Farrell), the narrator, a new kid who's still ill over catching a bystander in crossfire; Ken (Brendan Gleeson), ...

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    REVIEW | True Dedication: Ilana Trachtman's "Praying with Lior"

    by Michael Koresky on January 31, 2008

    No film critic would dare print a negative word about a film as well-intentioned as Ilana Trachtman's affable, purposely enriching documentary "Praying with Lior"; the reassuring news is that they'd have no reason to. One may be compelled to note the film's unremarkable visual textures, yet more apr...

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