How does a talented, critically celebrated actor follow-up an Oscar nomination for a low-budget indie?
Minor but moving, it’s a story about, and for, outsiders—and PETA members as well.
For its rambunctious first half, Lasse Hallström’s The Hoax is a rip-roaring yarn.
Had it been made shortly after 9/11, Firehouse Dog might have seemed like a shameless attempt to marry the country’s reverence for the New York Fire Department with Air Bud.
Cold, shallow existentialism. Save your money for the upcoming DVD release of Army of Shadows.
The film gleefully clings to an unattractive frat-boy ethos while squandering the opportunity for real rebelliousness.
Chris Eigemanembodies an erudite prep school English teacher beset by ambivalence about his upper-crust professional milieu.
A title like Are We Done Yet? does my job for me.
Not only unwatchable but bound to destroy a few Christmas memories.
The Lookout naturally invites comparisons to Christopher Nolan’s Memento.
The film seesaws ineptly between stale horror clichés, ludicrously excessive gore, and political allegory.
Oh, no they didn’t!
Adam Sandler only stumbles significantly when he too vigorously stresses his comedic affectations.
There isn’t a moment in Memory during which Billy Zane seems natural.
Jean-Pascal Hattu’s debut exhibits a familiar trace of the Dardennes’ observational astringency.
Once is the David Gray or James Blunt of movie musicals, and, amazingly enough, that’s not a bad thing.
Luc Schaedler takes a critical look at Tibet via the story of iconoclastic monk Gendun Choephel in Angry Monk: Reflections on Tibet.
El Custodio is almost pathological in its compositional marginalization of its protagonist.
Lionel Baier recreates and embellishes personal memories in some sort of vanity project run amok.
Not a great movie but still better than half the movies nominated for an Academy Award this year.