The film only pretends to rail against the scourge of unchecked capitalism.
The film is at once a journey of self-actualization and a testament to female solidarity.
The film is noteworthy for its rumination on the subtle costs of its characters’ newfound prosperity.
Ricky Gervais’s film hopscotches through a variety of premises, looking for jokes that never arrive.
Dean DeBlois’s film has the core of a genuine crowd-pleaser, but unfortunately something bigger and more all-consuming keeps getting into its head.
Chavez is marked by an explosive anger kept under a cherubic, sweet-natured mask, providing the surprise lacking in the story’s text.
The film flirts with big ideas about adult relationships, but fails to locate any gravitas about its characters’ existential or psychological crises.
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Sometimes the truth doesn’t set you free.
This kid flick is just plain smart, packed full of imagination and surprise.
The interracial meet-the-parents setup pioneered in Guess Who’s Coming to Dinner gets a modest comic update in Our Family Wedding.
The fantasyland-set script has a habit of wrapping up serious situations through flippantly easy shortcuts.
Throughout, writer-director Antonio Negret only alludes to the seriousness of his volatile social setting.
The film exhibits enough unfussy familiarity with its tattered blue-collar locale to overcome its more well-worn components.
Week in, week out, Ugly Betty subjects its audience to the same recycled crisis.
The film’s positive portrait of teenage femininity is honest and mature.
The film’s acknowledgement that growing up often requires coming to terms with loss results in a mature, untidy view of adolescence.
The film is a sweet and powerful rebuke of the epidemic of discouragement that plagues so many cultures of color.
It’s the film’s delicate and open-ended finale that lingers in the mind.