| movie title |
related
list |
average rating |
MPAA rating |
watch |
rent |
buy |
| 5x2 (2004)
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| "A shrewd, compassionate and quite brilliant essay in the secret theatre of relationships" - Peter Bradshaw in the Guardian |
| The Agronomist (2002)
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| "Superb... Jean Dominique embodies the fragile, perpetual hope that Haiti, so long tormented by foreign meddlers and domestic dictators, might someday nurture a just and decent political order" - A.O. Scott in the New York Times |
| The Aristocrats (2005)
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| Hitting the best-of-2005 lists: David Edelstein (NPR, Slate) and again, A.O. Scott. |
| The Assassination of Richard Nixon (2004)
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| "Penn sinks gracefully into the role of a working-class schlub," writes Scott Tobias for the A.V. Club about the film that "deals with the cataclysmic result when idealism and solipsism collide." |
| Being Julia (2004)
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| "It's a joy to watch Bening play Julia playing 'Julia'" - Edelstein in Slate on the Oscar-nominated performance. |
| Born Into Brothels (2003)
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| "Equally heartening and disheartening because of the filmmakers' link to the kids and their very real and productive attempts to help half a dozen of them," writes talltale of this Oscar winner. |
| Bright Young Things (2003)
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| Don't miss Sean Axmaker's wide-ranging interview with the wonderful Stephen Fry. |
| Bus 174 (2002)
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| "A remarkable and unsettling film" - London Times. Honorable Mention on our Best Docs list. |
| The Dangerous Lives of Altar Boys (2002)
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| "Great film," says larbeck. "The live action melts into some great, great anime-like animation by the Master Todd McFarlane (The Spawn) himself." |
| The Event (2002)
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| "A touching AIDS drama that gives the characters a little more dignity than most other AIDS dramas," says hobocamp. |
| Festival Express (2003)
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| "It was the greatest rock & roll party you never heard of" - Marjorie Baumgarten in the Austin Chronicle |
| Festival Express (Bonus Disc) (2003)
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| "Janis delivers an astonishingly wrenching and immediate performance. The most vivid evidence of her presence ever committed to film" - J. Hoberman in the Voice |
| Game Over: Kasparov and the Machine (2003)
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| "An engrossing tale of ego, strategy and the limits of human intelligence" - Chicago Reader |
| Genesis (2004)
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| From the team that gave us Microcosmos. |
| Gerry (2002)
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| Among those who named it the best film of 2003: Michael Atkinson (Voice), Susan Gerhard (SFBG), Anthony Kaufman (indieWIRE). |
| The Heart of Me (2002)
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| "Sad and romantic in a very English way" - Philip French in the Observer. |
| Kontroll (2004)
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| "An impressive debut," wrote Craig Phillips on his best-of-2005 list. |
| The Last Kiss (2001)
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| "It's been a while since I've seen a film quite as - well - Italian as this. This is an outrageously melodramatic sex comedy" - Peter Bradshaw in the Guardian. |
| Love in the Time of Money (2002)
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| "Whenever Mattei's dialogue begins teetering toward theatricality or facile whimsy, an unexpected shift occurs to reveal a gratifying new element that deepens the dramatic texture" - indieWIRE |
| Mondovino (2004)
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| "A must-see" - Jonathan Marlow |
| Mystic Masseur (2001)
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| "A wry, affectionate delight" - Roger Ebert |
| Overnight (2003)
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| "A fascinating study of the way the film industry works, and sometimes doesn't work," says underdog. |
| Palindromes (2004)
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Not Rated
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| "Takes what could have been simply a gimmick of a plot device... and turns it into something more revelatory" - Craig Phillips, introducing his interview with Todd Solondz. |
| Primer (2003)
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| "Why can't there be more SciFi like this?" asks rmarkd. Grand Jury Prize winner at Sundance. |
| Spellbound (2002)
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| "Real kids, real pressure, really good," says rpmfla. |
| The Story of the Weeping Camel (2003)
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| "The purity of the film's vision... is all over Falorni and Davaa's no-frills but oftentimes startling compositions... and a series of magical, almost cosmic associations" - Ed Gonzalez in Slant |
| Teknolust (2002)
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| "A Liquid Sky for the 90s," says David Hudson. |
| Tell Them Who You Are (2004)
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| "There is so much going on here--history, humor, subservience, plea, revenge, to name a few," says talltale. |
| Time Out (2001)
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| "What gives the film its power are the amazingly conveyed anxiety, exhaustion, and impotence in the lead's performance," says AHidalgo. |
| Wilbur Wants to Kill Himself (2002)
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| "A poignant, death-tinged comedy" - Philadelphia Inquirer |
| World Traveler (2001)
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| "Once I comprehended where Freundlich was going with this, I began to really enjoy where the film was taking me" - Ron Wells, Film Threat |
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