Professional confectioner Lasse Hallström directs with the generic, bright dullness that’s become his default setting.
Last Days Here doesn’t flinch from the sad spectacle of doom metal singer Bobby Liebling at his nadir, but you will.
Gianni Di Gregorio’s The Salt of Life is a mildly self-pitying plod.
The Fairy reclaims wackiness with a bliss that’s hard to deny.
This is a supplement-free but reasonably spiffy presentation of a mid-career comedy star’s effort to grow up just a little.
The film is a simmering small-town New England noir with an acidic comic streak.
The miracle of Lionel Rogosin’s apartheid drama Come Back, Africa isn’t that it’s a solid, affecting artifact of a cruel society, but that it exists at all.
This is the rare documentary that lionizes an accomplished figure without tipping into hagiography.
Alas, Larger Than Life is too small to contain Carol Channing’s legacy
Park Sang-yeon’s film is both selectively brutal and outrageously sentimental.
Both the feature and the production history recounted in this package attest to the artistry of its unromanticized, downbeat vibrations.
Sleepless Nights Stories wrestles often with the intersections of the artistic and the personal.
Too much of Ian Palmer’s self-narrated documentary dissipates into grotesquerie.
Steven Spielberg’s The Adventures of Tintin is a wittily kineticized adaptation of the internationally loved comic books.
It works best as a sweet valentine to the late 20th century’s most beloved vaudeville gang’s staying power.
This deadpan musical saga is also a novelty headstone for the Soviet epoch.
Its tight compositions expressively reinforce the dialogue’s more didactic points about externally imposed strictures.
Into the Abyss laments the fallout from cold-blooded carnage with a keen, meditative strength.
Urbanized is more frequently adept at presenting hands-on crusaders for saner, greener city life.
Anonymous leaves one bereft of any meaningful knowledge of its central personages or the theatrical energy of their age.