I now know what it’s like for those buzz killers who complain about Wes Anderson films. All the adjectives they use to denigrate delights such as The Royal Tenenbaums and The Life Aquatic with Steve Zissou – fastidious, mannered, production designed to death – apply, in my mind, to this deliberate quirkfest. Adrien Brody and

Stark yet deeply hopeful, this minimalist, independent drama from director Kelly Reichardt struck a chord among critics and art-house audiences but didn’t go much further than that. Michelle Williams plays Wendy, a twentysomething vagrant on the way to some vague sort of new life in Alaska. She’s something of a wounded animal, so it’s appropriate

Seraphine won a bunch of Cesars – the French equivalent of the Oscars – and what’s most striking about it is the way it perfectly fits into the respectable, historical, biographical, Academy Award-friendly tradition. That said, Yolande Moreau gives an arresting, nearly wordless performance as Seraphine, the French “naïve” painter of the early 1900s who