The film begins as a story of ramifications for wrongdoings but ends as a near-celebration in the name of doing whatever the heck you want.
One of the major threads running through this season has been Amy’s relationships with the Doctor and her fiancé.
A bit too pleased with its own cleverness, Double Take is a better idea than it is a film.
One Life, Maybe Two presents the multiple paths a life takes based on the results of one diverging event.
![A Movie a Day, Day 19: [Rec] 2](https://cdn.shortpixel.ai/spai/q_glossy+ret_img+to_auto/www.slantmagazine.com/wp-content/uploads/2010/06/film_rec2.jpg)
[Rec] 2 doesn’t suck, but it does suffer from sequelitis.
Papaleo needn’t have diluted his musicians’ buoyant masculinity.
The misanthropic “Power” will surely alienate those longing for another sunny hit like “Hey Mama.”
So, curses to you, once again, robots!
The Witnesses is infused with tenderness, fury, and quiet grief.
Gabriele Salvatores’s film lacks complexity and any real sense for reality.
The Double Hour seems determined to vacuum every last empathetic crumb from its cheap surprises.
The film contemplates the gulf between a child’s dawn-fresh perception of the world and the horrors descended upon it by war.
Agora is an odd duck, a cautionary tale for our fundamentalist times disguised as a swords-and-sandal epic.
There is some fantastic staging at work here.
Kites plays like a Douglas Sirk melodrama interpreted by Sergio Leone and with a score by Enya.
If baseball is America’s pastime, then soccer is the world’s.
I thought I’d take a minute to scoop up a big random pile of stuff here and do some old-fashioned reviewing.
What woman wouldn’t love to be part of a posse for life who can be counted on to run to her side whenever she needs them?
It’s not The Secret in Their Eyes, but it’s still pretty good.
Self-controlled but suffused with feeling, Father of My Children is a grownup love letter to life.