Watching Pawel Pawlikowski’s drama “Ida,” is to immerse yourself in a film of great silences. Set in the grim landscape of postwar-Poland “Ida” follows Anna, a young Catholic nun (newcomer Agata Trzebuchowska) as she prepares to profess her vows in the convent she's lived in since childhood. Before she can take this important step, the convent’s Mother Superior insists that she pay a visit to her only living relative, her aunt Wanda (Agata Kulesza). Obeying reluctantly, Anna’s appearance in Wanda’s life unmoors not only the older woman but Anna herself, who learns that her real name is Ida, and that her Jewish parents were murdered during World War II.

Wes Anderson’s "The Grand Budapest Hotel" is the cinematic equivalent of a pastry: beautiful, exquisitely-crafted and so immensely enjoyable that it seems too good to be real. Part-homage to pre-World War II Europe, part-tribute to memory and the passage of time and part-ridiculous slapstick, "The Grand Budapest"'s greatest achievement is not in its visual perfection but its literary sensibility. It’s what would

This is the way the world ends, or starts to end, in George Clooney’s “The Monuments Men”: with a bang. In the film’s opening scenes, Hubert and Jan van Eyck’s “Ghent Altarpiece” is loudly dismantled, panel by panel, and prepared—too late, though—for a secret hiding place. The clock is ticking for its fellow masterpieces. World War II is raging and Hitler, an unpromising art student before he became Der Führer, fancies himself

It’s the oldest story in the book: boy meets girl. Boy and girl fall in love. Boy and girl live happily ever after.

The problem? The girl in this instance is a computer, and the boy is the lonely Theodore Twombley (Joaquin Phoenix). Theodore, who spends his days composing love letters for other people, is slogging through the aftermath of a failed marriage when he purchases an artificially intelligent operating system. His drab life, backlit by a vaguely

Middle-earth continues its domination of the silver screen with this latest installment, "The Hobbit: The Desolation of Smaug," the second film centering on the adventures of the hobbit Bilbo and his band of merry men (and dwarves and wizards). Peter Jackson has delivered a terrific film that also has a unique Achilles’s heel. The one weakness in this otherwise highly-entertaining movie is exactly what has made it such

Never has there been a story of more woe than Carlo Carlei’s lukewarm adaptation of "Romeo and Juliet," that most eminent of romantic tragedies. The problem with this film adaptation is that it is about as romantic as a bad date and the acting performances are worthy of a pre-Glee high-school production.

Bringing the star-crossed lovers to life––or

The most striking aspect of “Wadjda” isn’t so much that it’s the first movie filmed entirely in Saudi Arabia, a country bereft of movie theatres, or that it is the product of a female writer and director (Haifaa al-Mansour): it’s that it manages to make the viewer forget these achievements thanks to its elegant plot and the understated, admirable performances of its actors.

Set in a suburb of Riyadh

“There is no way not to tell this right,” a cheerful Mason says to his co-workers Grace and Nate as he relates a story while on break outside the drab foster care residence where they work. The same could be said of "Short Term 12," a thoughtfully executed film that examines a range of emotions, from love and hope to despair and the pain of betrayal in an astonishingly moving ninety-six minutes.