Eric Hynes

Impassioned, but wearisomely didactic, diaspora drama.

The film clandestinely captures marauders in action while embedding itself in the imperiled home of aging farmer Michael Campbell. He's not the movie's ad hoc martyr, but something more compelling: a simple man whose fight for personal justice has matured into patriotism.

The performance sequences feel intimate and exhilarating-but in the end, Li's journey is compelling only when he's onstage.

Poised between childhood and adolescence, arrogance and insecurity, the kids still make for compelling subjects.

It's a functional sequel, but with all that spirited slicing and dicing, the director could have at least broken a sweat.

It's less a film than one long advertisement for itself-and for the fact that mindless entertainment truly knows no borders.

It's hardly worth slogging through a full hour of unexplained bondage and a so-bombastic-it-seems-sarcastic score, only to be rewarded with a plea for tolerance that's both insincere and inept.

Convention plays like 11 cameras in search of drama.

The Virginity Hit is elevated by its cast of very funny young actors who match good comic timing with relaxed spontaneity.

The Freebie grimly reaffirms the status quo, concluding it's better to have no sex at all than to forsake the Ikea-furnished domestic dream.

The Law is everything that this season’s lackluster blockbusters are not: a damn good time.

What’s unique to Beadie Finzi’s debut feature is what it reveals about the financial, physical and emotional costs of talent.