It’s the same every year: there are only a handful of quality films released all fall, and then suddenly, in the last six weeks of the year, there simply isn’t enough time for all the Oscar-caliber movies you want to see.

A diplomat and an independent documentary filmmaker: the two Negroponte brothers could not have followed more divergent paths to fame.

The final curtain call. $21.3 million in sales. Top of the box office.

“Co-op,”a student film written and directed by Max Barbakow ’11 and Jacob Albert ’11, dares you to pigeonhole it. Its cast of grotesque characters evokes Darren Aronofsky’s breakout hit, “Requiem for a Dream,” and its strange, living spaces and dark humor are reminiscent of the Coen brothers’ masterpiece, “Barton Fink.”

For the miniaturist, the labored observation of detail is essential to unlocking the grandest secrets of humanity.

On the American poster for Karin Albou’s new film, “Le chant des mariées,” the tag line reads something like “a friendship nothing could destroy” (or some- thing like that). It’s a clichéd line that sells short this thematically bold and visually striking second feature by the director of “Little Jerusalem.”

With box office figures supporting gorier and more visually terrifying pictures, fans of the classic suspense horror genre are presently left wanting.

Larry Gopnik’s life is, like, really stressful right now. His wife is leaving him for a real jerk; he’s up for tenure and probably isn’t going to get it; his stoner, troublemaking son is about to be bar mitzvah; his indignantly superficial daughter wants a nose job; his brother keeps getting arrested and has nowhere to live; he’s having money problems.

Death is interesting. Grief is interesting. Religion is interesting. Sex is interesting. And yet, “Antichrist” somehow manages not to be interesting, despite attempting to tackle all of these things.

Spike Jonze has found the elixir of eternal youth. And no, it’s not botox, nor does it require drinking from a spring.

The name Coco Chanel is synonymous with understated glamour and elegance in today’s fashion world. Gabrielle Bonheur, however, is a name few recognize.

Declare love to your metropolis, one short at a time. Of course Paris was first, with “Paris Je t’aime.” Next stop — New York, but with fewer directors and even less love.

Although 16-year-olds probably shouldn’t date men twice their age, it does make for a great film.

Although the screens of Cinema at the Whitney go dark this semester, other film societies on campus are ready for their close-ups.

It’s the recession, and to celebrate, all of your favorite actors and actresses are looking for work.

I have known many quality French people in my life. But if I had to choose a favorite, it would be my Aunty M.

Roller derby? In 2009? Ya, Drew Barrymore went there. A bold move for the actress venturing into the world of directing. “Whip It” is a girl-power-laced action, drama, comedy, underdog-sports film all at once – with as much underlying identity crisis as the teens it portrays.

If Michael Moore’s new documentary “Capitalism: A Love Story” were a love song it would be the Black Eyed Peas’ “Where is the Love?”

“What does the modern woman really want?”
Claims have been proffered by everyone from Plato to the editors of Playboy, but as of yet the question remains unanswered.

Every time I watch “Space Jam,” I make plans to drop out of school to become a basketball star. The euphoria of MJ’s triumph over those pesky green aliens convinces me anything’s possible and anyone can make it big — the same goes for “School of Rock,” “Save the Last Dance,” “Remember the Titans” and countless other preadolescent films. I expected that same feeling of exuberant empowerment when I saw the recent remake of Alan Parker’s hit ’80s film, “Fame.” Instead, I emerged from the theater with the grandiose feeling of “huh?”