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Narc (R)
Steve Bertrand: This film starts with an unbelievable police foot chase. We soon learn the feet belong to Nick Tellis (Jason Patric) a Detroit narcotics cop who's gotten too close to his criminals. He's forced out of the department, but called back to handle a hot case involving the death of another undercover narcotics officer. He partners up with Henry Oak (Ray Liota) and begins to question whether Oak is after the truth. It's a question the audience is forced to consider as well. Liotta is fantastic as a hulking hothead. We don't know to the end whether he's fighting for good, or bad.
Nick: An exciting, wildly netertaining cop thriller that doesn't really break any new ground, but what it does do, it does in grand style. Ray Liotta and Jason Patric are absolutely brilliant, and director Joe Carahan films this thing with breakneck originality that brings the story to gritty, vibrant life. Recalling the style of The French Connection and some of the best 70's cop flicks, Narc is one of the best examples of the genre, and a tremendously entertaining picture. And, again, Liotta and Patric give two fo the best performances of their (remarkable) careers.

National Lampoon's Van Wilder (R)
Steve Bertrand: Billed as an updated Animal House, this film is more of an insult to the original than a tribute. Van Wilder (Ryan Reynolds) is a seven year college student who loves his job. Staying in school. When a student reporter (Tara Reid) begins to write an expose on his exploits, his world unravels. Or maybe finally comes together. Either way, it does so amid so much vomit and over the top vulgarity that it's hardly worth figuring out. Reynolds is entertaining at times, but that's it.
Nick: OK, I have officially had enough gross-out, bodily function, goofy sex gags and moronic drinking bits. This piece of garbage comes out only two weeks after Sorority Boys set the new low standard for this type of nonsense. A bland and sniggering Ryan Reynolds plays the title character,a seven year college student beloved by all, who becomes the subject of an article to be written by a sexy reporter (Tara Reid). If you think boobs, beer and blowin' chunks is funny, then hop on this idiot train. If you've had enough of large dog tesiticles, pastries injected with semen and more vomit than you can shake a stick at, then you might want to steer clear. It features uninspired appearances by Paul Gleeson (The Breakfast Club) and Tim Matheson (Animal House), and Teck from MTV's The Real World has a major role....enough said.

National Security (PG-13)
Nick: Moronic, loud and stupid, this latest bad Martin Lawrence comedy wastes the talent of everyone involved (especially the great Steve Zahn). It's the old "mismatched cop routine" and it's just as creaky as ever. If you thought the Robert DeNiro/Eddie Murphy vehicle, Showtime was amusing, you'll love this. Lawrence, who is a very funny stand-up, continues to make some of the dumbest comedies ever made, and this one is no different.

National Treasure (PG)
Nick: There’s a treasure map on the back of the Declaration of Independence and Nicolas Cage is going to track it down before the bad guys get it. Uuuuum what? Am I nuts or is this the most blatantly moronic idea for a film in years? It’s worse than you could imagine. Mindless, boring and sooooo stupid, this is yet another reason why Jerry Bruckheimer should be deported.

Never Again (R)
Steve Bertrand: Never Again tells the story of two 50-something New York divorcees who are lonely but have promised themselves they're done with love. Jeffrey Tambor is Christopher, an exterminator whose greatest pest seems to be his mother. Jill Clayburgh is Grace whose nest is only newly empty. Her life, however, has been for some time. There are some good reasons to see this film (the supporting work of Sandy Duncan, Bill Duke and Michael McKean) but there are more reasons to skip it. The script falls too easily into cliche and, with a couple of exceptions, fails to tell a story that is age specific. Freddie Prinze Jr and Sarah Michelle Gellar might have just as easily starred.

The New Guy (PG-13)
Nick: Well, it's not as bad as Sorority Boys and Van Wilder, and it's infinitely better than The Sweetest Thing, but it's still a stupid, lamebrained teen-comedy that's held together with moronic gags and tacky jokes. The cast is reasonably charming and it's certainly innocuous enough, but I can't recommend it for anyone over 15.

New York Minute (PG)
Nick: The Olsen Twins first big movie is a creepy, moronic farce (inspired by the mother of all moronic farces the horrible Ferris Bueller's Day Off) that is the polar opposite of the great teen comedy from last week, Mean Girls. The camera lingers a bit too much on the young bodies of the sisters, and a large group of talented and funny people embarrass themselves completely. I won't mention their names...they know who they are.

Nicholas Nickleby (PG)
Steve Bertrand: The thing about Charles Dickens' "Nicholas Nickleby" is, it's long. That's a big hurdle to overcome to bring the work to the screen or stage but, in this case, director Douglas McGrath succeeds in delivering a snappy account of this 19th century coming of age story. Nicholas (Charlie Hunnam) finds himself the head of the household after the death of his father. He, his mother and sister turn to an evil uncle (Christopher Plummer) for help. What little he offers comes with strings attached. We watch as Nicholas takes work at a school for boys, only to be disgusted by the oppressive condition, then escapes for a return trip to London and respectability. There is surely some Dickensian doom in this film, but, by and large, it's great entertainment with a good number of laughs. Jamie Bell, Jim Broadbent, Anne Hathaway, Timothy Spall, Nathan Lane and others combine for a spectacular ensemble.
Nick: A beautifully adapted version of the classic Charles Dickens story that streamlines the novel, but keeps the refreshingly light tone. A magnificent cast (including Christopher Plummer, Tom Courtney, Jamie Bell, Nathan Lane, Dame Edna Everage and Jim Broadbent) does justice to the material which has been expertly directed by Douglas McGrath (who did a similarly great job with Jane Austin's Emma). This is a thoroughly entertaining, joyous, lively piece of work that pops off of the screen. A genuine crowd pleaser.

No Man's Land (R)
Steve Bertrand: Danis Tanovic's directorial debut in an insightful and pointed indictment of war in the days of the UN peacekeeper. Through a couple of mixups a Serb finds himself sharing a trench with a Bosnian soldier. Rather than kill each other they try to make it back to their respective camps without being shot by the other side. When the peacekeepers arrive they're of little help. Unfortunately, this film misses when it aims at the media. Tanovic uses a sledge hammer that doesn't fit with the rest of his case.

Northfork (PG-13)
Nick: Mark and Michael Polish, two very unique director/writers are at it again with this very original piece about a town that must be evacuated before it is flooded under. There are some truly inspired, gorgeous and haunting moments in the film, and you have to admire the audacity of the piece, but it
moves like molasses and at times the whimsy is overwhelmingly aching. A family of eccentric ghosts lead by Anthony Edwards and Daryl Hannah provide the film's most awkward moments, while Nick Nolte and James Woods are terrific as the emotional core. It's a weird film and at times it's poetic and I recommend it for the more adventurous viewer.

Not Another Teen Movie
Nick: In the grand tradition of the Naked Gun films, and lesser parodies like Scary Movie, comes this spotty little comedy that has some great laughs, and plenty of moaners. It tackles everything from Varsity Blues to the Breakfast Club, and others in between, but it never picks up enough steam. The cast is charming and attractive, and some of the jokes are refreshingly un-PC, but it truly is a hit or miss slobfest, with more misses than hits.

The Notebook (PG-13)
Nick: Good acting saves this ponderous love story/period piece about forbidden love and memories. James Garner, Gena Rowlands, Ryan Gosling and Rachel McAdams (so good in Mean Girls) all shine in this Nick Cassavetes film based on the best selling romance novel. It's not nearly as good as Bridges of Madison County (which took a bad book and turned it into a great film), but it's better than expected. A perfectly fine romantic date movie that teeters on being a bit maudlin, but never goes over the line. Worth a look.

Notorious C.H.O. (R)
Steve Bertrand: Standup comic Margaret Cho has some great things to say. She talks about self-acceptance as well as social acceptance of many who are sometimes marginalized. The trouble is, I don't think she's funny. Her comedy is certainly graphic sexually and that's okay if it works. But little of it does here.

NOTTING HILL
Nick: A surprisingly charming love story with two actors who normally annoy me. Julia Roberts and Hugh Grant are very good in this old fashioned romantic comedy.

Novocaine (R)
Steve Bertrand: This is a dark comedy about a suburban dentist (Steve Martin) whose life appears to unravel when he makes a play for a seductive drug-addicted patient (Helena Bonham Carter). His career, his engagement (to his dental hygenist played by Laura Dern), and even his life are all threatened by his attraction. There are some funny moments here and some clever twists, but more often than not, it's tough to buy into the dentists' choices. They seem too out of character, even for Hollywood.

O (R)
Steve Bertrand: This version of Shakespeare's "Othello" has been on hold for years. And for good reason. Like any work of art worth its weight, it hits close to home. It stirs you. An earlier release, in the swirl of the Columbine shootings, would have dulled its impact. It would have been seen as a made for TV movie captilalizing on tragedy, rather than as a retelling of a universal story. Set in a Southern prep school, Hugo (Josh Hartnett) is the son of the Santini-like basketball coach (Martin Sheen). He's jealous of star Odin (Mekhi Phifer) and the attention he gets from his father. Hugo sets out to destroy Odin and thereby win the affections his father. This story ends in tragedy, and parents will be challenged to decide whether their children should see it. There is violence here, but there is also a message.
Nick: This is a modern retelling of Shakespeare's classic tragedy Othello, set at an exclusive high school during basketball season. It's nicely presented and acted (Mekhi Pfiefer is particularly good) and actor Tim Blake Nelson directs the story with sensitivity and style, but there are problems. Some of the moments cut from the play are essential to its effectiveness, and the motivation for some characters seems sketchy, and for others (Josh Hartnett's Iago based character Hugo) are too pat. But, there's no denying the serious and timeless tone of the material, and the ending is powerful, uncompromising and filled with dread. Overall, it's better than most of the teen-updates of the Bard's work and it's worth a look.

O Brother Where Art Thou - (PG-13)
Steve Bertrand: The latest Coen brothers' film borrows from Homer and Southern myth as we track three escaped cons through the depression era South while they head toward their hidden loot. Ulysses (George Clooney) bolts with Pete (John Turturro) and Delmar (Tim Blake Nelson) not so much because he likes them, but because he's chained to them. What follows is a series of at times disjointed adventures as the three make their way toward freedom and, perhaps, even respectability. The acting is fine, the gags are laugh out loud funny and the music is masterful. Charles Durning scores big as a corrupt governor bent on bucking the odds and winning re-election.
Nick: The single most disappointing film in years. A mess, filled with half-baked ideas and one dimensional characters. The worst Coen Brothers movie of all time....it's best to forget it. -

Ocean's 11 (PG-13)
Steve Bertrand: There's a new Rat Pack in Vegas. George Clooney, Brad Pitt and Matt Damon are the marquis three of this latest eleven, but the rest of the pack holds up very well. See especially Elliot Gould as a flamboyant out of favor casino owner with a grudge. Upon his release from prison in New Jersey, Danny Ocean (Clooney) sets out immediately to do the impossible: to rob three casinos at once. But is his motive greed, revenge or altruism? Ocean's ex-wife Tess (Julia Roberts) is dating casino tycoon Terry Benedict (Andy Garcia). If he can knock off the casinos, Ocean would get rich, embarrass his rival and teach his ex-wife a lesson or two. This is a fantastic heist movie, tense at times but never very far from a genuine laugh. Director Steven Soderbergh scores again.
Nick: Director Steven Soderbergh (Traffic, Erin Brokovich) has fun with this goofy heist picture that's not so much a remake of the 1960 original, but of Soderbergh's own Out of Sight. The star studded cast all do a great job here, with Brad Pitt again proving what a remarkably assured and funny performer he is. It's a trifle, but it's a fun trifle that provides two hours of solid entertainment

Ocean's Twelve (PG-13)
Nick: I liked this more than the original. A smart alecky sequel that brings back all of the major players (led by George Clooney, Brad Pitt and Matt Damon) and throws them into a ridiculously complicated heist/caper scenario. Director Steven Soderbergh amps up the style here and makes a much more interesting film than the first entry. The influences here seem to be mid-60s Italian crime films and Jean Paul Belmondo vehicles. I loved the inside jokes, the goofy tone and the splashy style. There are great cameos and cool twists in the plot, but this movie sails along on charming star power, flashy visuals and a neat subtext involving the inner-commentary of movie stars. I really had a good time here.

OCTOBER SKY
Nick: Corny, but well made piece of fluff that might make some people weep. It made me yawn.

OFFICE SPACE
Nick: A great satire of the "9 to 5" life with big laughs and a very original comic tone. From the brilliant creator of "Beavis and Butthead," Mike Judge. See this one!

Old School (R)
Nick: Will Farrell, Vince Vaughn and Luke Wilson start a fraternity even though they are all married or engaged, and well into their 30s. This broad, vulgar, sometimes funny movie is basically lousy, but it's blessed with some of the funniest actors in the world. Farrell almost single handedly save the movie, and Vaughn is quite good as well. There are a few big laughs, but this is still just a T & A, slob comedy that went out of style a long time ago.

The One (PG)
Nick: Dumb sci-fi actioner starring Jet Li. Great effects, good fights scenes. It's really, really short and it moves fast so it's all over before you realize how idiotic it is. Is it entertaining? You bet your butt it is. A shameless, escapist good time. -

One Hour Photo - (R)
Nick: Robin Williams plays his second psycho of the year, and I think he's finally found his niche. This resoundingly creepy film (directed by the gifted Mark Romaneck) tells the story of a photo clerk who becomes obsessed with a particular family. The tension is thick and the performances are top notch. It made my skin crawl, in a good way.

On the Line (PG)
Nick: Lance Bass and Joey Fatoine from 'N Sync star in this romantic comedy. Enuff said. And wow, I thought Serendipity was bad. -

Once Upon a Time in Mexico (R)
Nick: The third in Robert Rodriguez's El Mariachi series is more of the same derivative shoot 'em up hokum, and it just bored me to tears. Despite a smart, attractive cast and some cool action sequences, this thing really falls flat. Too many characters, too many subplots, too much stuff, period. Antonio Banderas barely registers, Salma Hayek is all but given a cameo and although Johnny Depp steals the show, he's given very little to do. I was confused some of the time and struck with tedium the rest of the time. People like Mickey Rourke, Willem Dafoe, Enrique Iglesais and Cheech Marin are wasted. Only Ruben Blades manages to create a real character amid all the purposeless noise. A disappointment.

102 Dalmations -
Nick: Glenn Close wastes her talents yet again on this stupid and unnecessary sequel. -

One Night at McCool's (R)
Nick: Nice try, but no cigar. In an interesting way to spice up the post-Tarantino-GuyRitchie comedy/thriller, the filmmakers have chosen to do a spin on Akira Kurasowa's Rashomon, and it doesn't work. The leads do their best with the material and the core idea (three different viewpoints tell the story) is nice, but in the simplest of terms: it's a dumb movie. Liv Tyler can now add "sex-pot bimbo" to her list of uninteresting/terrible roles. She hasn't been remotely interesting since or before the movie Heavy.
Steve Bertrand: Matt Dillon, Paul Reiser and John Goodman star as three very different men all caught in the web of the same woman (Liv Tyler). We watch as each tells his story of obsession too his confessor, a priest, a psychiatrist and a hitman . The funniest character in the movie is played by Michael Douglas. Mr. Burmeister is hitman who meets up with Dillon's character a bingo parlor. This dark comedy succeeds in delivering some laughs, unfortunately they're a little to few and far between.

Open Range (R)
Nick: A decent western starring and directed by Kevin Costner. For the most part he keeps his annoying, hammy, self-indulgent tendencies under control (although he still seems to be in love with his face, considering the amount of close-ups he gets, and his strained David Leanish attempts at showcasing his setting bog the film down considerably), and the result is the best film he's ever directed (although that's not not saying much). The plot is the stuff of classic westerns and the performances (especially by Michael Jeter, Michael Gambon and the great Robert Duvall, who almost single handedly saves the movie) are very strong. The ridiculous love story doesn't work (it's not Annete Being's fault though) and Costner always falls just short of the magnificence he seeks, but it's still a nice example of the genre and climaxes with a great and exciting gun battle. Better than I thought it was going ot be, but still touched with he annoyances Costner constantly brings to the table.

Open Water (R)
Nick: A terrific survival thriller about a couple stranded in the middle of the ocean fending off sharks, fatigue and much, much more. A tense, singularly inventive low-budgeter that’s primal shocks come from its primitive style and increasing building of tension. Writer director Chris Kentis utilizes handheld, free wheeling digital cameras and editing to sickeningly real ends. It reminded me of a combination of Touching the Void (the fantastic film from earlier this year about two stranded mountain climbers) and the brilliant Blair Witch Project. A great and scary film, but don’t expect Jaws.

The Opera Lover
Steve Bertrand: This is a local project worth checking out. Tom Bastounes stars as George, a middle aged Chicagoan wandering through life after he let his shot a true love slip away. Just as his family is selling its produce business (Bastounes is in the biz in real life), he gets a second shot. His old flame, an opera singer, is back in town and George figures now is the time to set things right. I liked this movie for a number of reasons. First, it captures Chicago and you can tell it's told and directed by people who know the city. They show the real thing, not the glitter shots some out of town director would pick. Also it's very funny. Storytellers Bastounes, Ron Lazzeretti and Venturino Liberatore flesh out some great characters and give them some great lines.

Orange County (R)
Steve Bertrand: Colin Hanks stars as a Southern California surfer boy who's too smart for his surroundings. When his application to Stanford is sunk by a clerical error, he sets off to make things right. Much has been made of the parentage of some of the major players here. Colin Hanks is the son of Tom Hanks. The woman who plays his girlfried Ashley is played by Schyler Fisk, daughter of Sissy Spacek. The director is Jake Kasden, son of Lawrence Kasden. Given so much nepotism, you might expect a bomb. This film is not a bomb, but it's not great either. Hanks is fun to watch. His career will be, too. Jack Black gets in the way as a the stoned older brother, but other supporting cast members provide gravitas to the kids work. John Lithgow, Catherine O'Hara, Lily Tomlin and Chevy Chase all have supporting roles.
Nick: - Likable comedy filled with a ton of great cameos and starring the offspring of the famous (Colin Hanks, son of Tom; Schuyler Fisk, daughter of Sissy Spacek). It tells the story of a kid's troubles as he tries to get into college and deal with his burnout brother. Jack Black (who is great in the band Tenacious D, but who stunk in High Fidelity) is unbelievably annoying in this film. Doing the same tired shtick he's been doing for five years, he has more than worn out his welcome. The film strains for quirkiness and doesn't quite achieve it. It's a pleasant enough experience (when Black isn't on screen), but it just misses the mark.

The Order (R)
Nick: Wow. I didn't think Brian Helgeland could make a worse movie thanA Knight's Tale, but he's done it. This insanely goofy thriller about a priest and his battle with a Sin Eater is stultifying idiocy. Not one moment is remotely believable and the central performance from Heath Ledger is so hollow,
that at certain points in the film I was convinced I could actually see through him. This is stunningly bad filmmaking.

Original Sin (R)
Nick: I don't think I've seen a worse film this year. It starts out like a bad episode of Red Shoe Diaries and ends like one of the Naked Gun movies. Awful in every way from the acting (Angelina Jolie is absolutely awful and she continues to think that you can act with only your lips and breasts) to the ridiculous story. Despite a couple of steamy sex scenes (which you don't see very often in major films nowadays) this is an absolutely horrible film. - NO STARS

Osmosis Jones
Nick: A very clever, slob-comedy version of Innerspace. Bill Murray plays a live action slob, who eats a bad hard boiled egg and much of the rest of the film takes place inside his body which is animated. Good voice work from Chris Rock, David Hyde Pierce and Laurence Fishburne. The gags are funny, most of them work and only a couple of them are too gross. The great Molly Shannon does a great job, and the Farrelly Brothers handle the live action jokes beautifully. Appropriate for anyone over 11. Cool stuff. -

The Others
Nick: A great film. Wonderfully atmospheric and genuinely creepy, this old fashioned haunted house movie is filled with scares, suspense and great surprises. Anyone who thinks The Sixth Sense is a good film, should be required to see this movie, an infinitely better work in every single way. Director Alejandro Amenabar makes a big splash, and proves himself to be a remarkable talent. Subtle, beautifully shot and at times, absolutely terrifying, this is a great horror film (with no blood, gore or nudity) and a fabulous throw back to old school horror. It evokes the spellbinding greatness of Val Lewton's work (Cat People, Island of Lost Souls, The Innocents), and it's one of the year's best films. -

THE OTHER SISTER
Nick: Julliette Lewis and Giovani Rabisi star in what is easily the most annoying and cloying film of the year. The mentally challenged have never been portrayed this poorly. Absolute garbage.

Out Cold (R)
Nick: Dude, snow boarding is cool. Half-naked chicks are awesome. Dude, I saw this movie with one other person in the theater, and check this out dude, he left. Hey dude, there's a lot of crotch jokes and some awesome stunts...dude it's great....I'm sorry dude, what were you saying? Oh yeah....it's awesome.

Out of Time (PG-13)
Nick: A tight, smart and well made noir-thriller that falls apart in the end, but the ride is so good for about an hour or so that I'm recommending it. Denzel Washington (who continues to give some of the most consistently compelling performances of his generation) plays a Florida sheriff who gets in
over his head in this Hitchcockian suspenser from the terrific Carl Franklin (One False Move, Devil in a Blue Dress). I just wish the film hadn't gotten so ridiculous by the end, with unbelievable events and goofy twists. Still, there are some really stunning and tense moments in this film, and Washington is always worth seeing.

OUTSIDE PROVIDENCE
Nick: A GREAT performance from Alec Baldwin and some surprisingly sweet insight make this bawdy comedy worth a look.

Owning Mahowny (R)
Steve Bertrand: Philip Seymour Hoffman and John Hurt star in this film about a gambling addict based on real life events in Canada. Mahowny (Hoffman) appears to be a straight laced, conservative banker. Underneath he has a gambling habit that costs him millions in other people's money. Are you watching Bill Bennet? Just about any film with Hoffman is worth seeing. This one certainly qualifies.
Nick: Phillip Seymour Hoffman continues to prove what a fabulous actor he is with this beautifully told story about a bank manager who is addicted to gambling and gets in over his head with the help of John Hurt (another great performance). Director Richard Kwietnoiski (Love and Death on Long Island) keeps the focus tight and tells the story in a smart, straightforward manner that's perfect for the script. But, clearly the star of this movie is Hoffman, who gives a truly special performance. He's one of our finest actors and this is one of his finest performances.

Palindromes (NOT RATED)
Nick: One of the best films of the year. A challenging, difficult, uncomfortable film that is definitely not for everyone. Todd Solondz redeems himself after the horrific Storytelling with this meditation on morals, abortion, deceit and pedophilia. Obviously, these are not subjects to be dealt with lightly, and although this movie is horrifyingly hilarious at times, Solondz ideas are solid, interesting, and completely compelling. Be warned, if you’re not in the mood for a strange, adventurous work (the lead character, a 12 year old girls is played by 8 different performers ranging from a little black girl, to a young boy, to Jennifer Jason Leigh), and you’re easily offended...you might want to steer clear. I, however, loved it.

The Panic Room (R)
Steve Bertrand: Jodie Foster stars as a recently divorced mother who, along with her daughter, moves into a toney New York brownstone. The three story home features a panic room off the master bedroom. It's impenetrable and according to Meg (Foster), unneccessary. She changes her mind after a band of burglars break into her new home. The Panic Room is another feat for director David Fincher (Fight Club). He creates claustrophobia in a wide open theater. Watch especially for his slithering camera as it snakes its way through the house.
Nick: Yet another remarkable film from David Fincher, the visionary director of Seven and Fight Club. This is his tightest, leanest thriller. It's about a divorced mother and her daughter fighting off a trio of intruders in their New York brownstone. The film is jammed with visually stunning moments (the break-in sequence alone is worth the price of admission) and nail-biting suspense. The script is clever at inventing consistently fresh predicaments, but the portrayal of the three criminals (all acted beautifully by Forrest Whitaker, Jared Leto and Dwight Yoakam) is at times, a bit broad, and jokey. It's the only flaw (and it is a minor one), of an otherwise incredibly scary, overwhelmingly entertaining Hitchockian thriller that I loved!

Paparazzi (PG-13)
Nick: Two words: Tom and Sizemore. Completely , utterly ridiculous..and I loved every single stupid moment of it. Leave the brain at home and have a blast.

The Passion of The Christ (R)
Nick: Mel Gibson's incredibly intense, stunningly personal vision of the last hours of Jesus' life is a remarkable film. It's admirable on many levels, including the great technical achievements here (direction, acting, cinematography, music, art direction....all top notch) and especially in the radical way in which Gibson reveals his most personal beliefs, without fear and with brazen originality. Some may disagree with Gibson's interpretation of one of the most told stories of all time, and that's fine. Many will find the excruciating violence and harrowing torture sequences to be over-the-top, and that's fine too. The point is that Gibson has taken a story and told it in a way that has never been told before and in doing so reveals more about himself than any director (not to mention worldwide movie star) has revealed in decades. Harsh, intense not at all for the squeamish, but ultimately deeply moving and rewarding. It's a very hard film to watch, but it's one of the year's best.