The Coen Brothers grant Ulysses a Southern setting in their Thirties-style road saga O Brother, Where Art Thou?

In a new documentary, Minneapolitan Craig Rice illuminates the prolific artistry of Gordon Parks

You Can Count on Me fulfills an old contract of honest storytelling

Arnold Schwarzenegger tries to keep pace with the competition--and himself--in The 6th Day

Beginning as a satiric gutbuster, Spike Lee's Bamboozled becomes its own stereotype

A young director's body of work grows by The Yards

After a summer full of multiplex fodder, the New York Film Festival provides an unpretentious showcase for arty cinema

Seventies horror perpetrators cop the reality plea in The American Nightmare

The post-apartheid doc Long Night's Journey Into Day examines reconciliation as a form of activism

Probing the nation's hidden sexual habits, The Lifestyle discovers an old swing set in every back yard

In an annual late-August ritual, the studios clear the vaults of their least promising product

With Hollow Man, provocateur Paul Verhoeven tests the viewer's capacity to distinguish sadism from seduction

How Prince's revolution was won--and where it got him

Director Alison Maclean returns to the road with Jesus' Son

Lars von Trier's The Idiots and the Farrelly Brothers' Me, Myself & Irene make intelligent metaphors for acting out

The new Shaft signs on to do the mayor's dirty work

Two Marxist-minded Belgian brothers bring their prize-winning Rosetta to the new world of capital

While Western art cinema draws the flashbulbs at Cannes, contemplative works from China, Taiwan, and Hong Kong leave the festival glowing in klieg lights from the East

Dim efforts by Roland Joffé, the Coen Brothers, Lars von Trier, Neil LaBute, and John Waters darken the screens of the world's flashiest film fest

First-time director Sofia Coppola turns The Virgin Suicides into a reverie of Seventies adolescence

Hou Hsiao-hsien's trademark is his cinematic search for a Taiwanese identity

Director Mary Harron delivers American Psycho with its cutting humor intact

With Not One Less, director Zhang Yimou calculates the human costs of the new China

Two teen flicks strain to make dying young seem cool

After a string of meta-roles, Julia Roberts gets back to work in Erin Brockovich

Boiler Room is the boom era's gangster flick

Hollywood shifts to the slopes for another week of reeling opportunities

1999 brought a cinematic bounty to the art house and the multiplex alike

With julien donkey-boy, director Harmony Korine continues his tradition of making flawed but fascinatingly belligerent cinema

P.T. Anderson's Magnolia withers under the weight of its ambition