Megane is the type of cutesy-quaint foreign import that’s just about insufferable.
Russia gets slammed something fierce in Poisoned by Polonium: The Litvinenko File.
Trouble the Water was prompted by the outrage felt by two documentarians at the catastrophe unfolding in New Orleans during Hurricane Katrina.
This look at global b-boying (otherwise known as breakdancing) hews closely to a familiar, pat formula.
The film is an oblique rumination on the psychological and emotional wreckage wrought by years of war in Beirut.
The film’s emotional closeness to its two young main characters leaves a gut-wrenching impression.
It ees female adolescence as an uncomfortable, embarrassing phase full of painful self-consciousness and frustrated desire.
Rather than explore the toll of hard work on Meatloaf’s health, psyche, and personal life, Bruce David Klein attempts to wring drama from trivial issues.
Horton Hears a Who! is the finest adaptation yet of the legendary Dr. Seuss’s work.
Sleepwalking isn’t made of chilly, prickly metal, but tepid mush.
10,000 B.C.’s stereotypically primitive characters have less personality than Stanley Kubrick’s primeval 2001 apes.
Like the mixed martial arts it showcases, Flash Point espouses the belief that there’s nothing quite as entertaining as uninhibited brutality.
Girls Rock! presents a warts-and-all portrait of an establishment aimed at teaching kids how to unleash their inner rock god.
By the end of Sputnik Mania, you may feels as manipulated as your are enlightened.
Blindsight instead proves the enduring potential afforded by straightforward verité filmmaking methods.
This is an unfortunately slim DVD package for the best Oscar top-dog since Million Dollar Baby.
The film’s moral and sociological concerns are hemmed in both by obstructive aesthetic self-consciousness and genre clichés.
Semi-Pro is perhaps the feeblest entry in the Will Ferrell Sports Comedy canon.
Redbelt is faithfully cast in the tradition of Jean-Pierre Melville’s Le Samouraï.
Fatherless children are the order of the day, but the film develops this theme no more than the absolute minimum.