The elegantly underplayed performances ensure that the film never succumbs to melodrama.
Now it’s easier than ever to appreciate both the sunny pleasures of Cameron Crowe’s ode to his youth and its self-doubting underbelly.
It’s a flashy, pre-fab product, but the animators are given enough space to create moments of genuine artistry.
The film quickly settles into a depressingly one-note groove as a culture-clashing circus act.
Like Cake, Meadowland takes a slow, painfully close look at the effects of a parent losing a child.
Our Idiot Brother is likable enough, but you don’t really need to see it.
If this show’s going to succeed, it’s going to have to figure out how to build a slightly more complex inner-life for its protagonist.
If the film clearly courts Gump-ian territory, its pattern finally bears a stronger resemblance to Teorema.
Pot comedies may not be rocket science, but a few more script revisions would have probably gone a long way here.
Perhaps you should not go into any new movie at a documentary film festival with expectations.
Caprica’s pilot is ambitious, a bit overflowing with plot threads that beg for resolution
Just sincere enough not to seem target-marketed, the film is a charmer of both semi-classic and partially derivative proportions.
Paul Dano looks weird.
That stink emanating from the vicinity of Yes Man is desperation.
As most of his films confirm, M. Night Shyamalan is far better at setup than payoff.
The Go-Getter is the cinematic navel lint from which She & Him crawled out to produce the almost cruel monotony of Volume One.
Flakes could have been dropped anywhere with a recognizable skyline.
One look at Aaron Stanford’s chain-smoking, long-haired musician in a Hanes T-shirt and you know Flakes wants so badly to be hip.
Steeped in the lyrical fatalism of that last great decade for the western, the ‘70s, Andrew Dominik’s film owes a debt to myriad spiritual ancestors.
Bridge to Terabithia broaches the subject of death with more nuance than Bambi.