Frank Scheck

The only film ever to be released with the promise of a reward--$50,000 for information leading to the arrest and conviction of the bomber--Who Bombed Judi Bari? is an engrossing account of the case.

The documentary, running a brief 75 minutes, at times feels rushed and cursory in its account of the magazine's 20-year existence. But it also, appropriately, boasts an energy and propulsive pace that feels just like rock and roll.

Snapshots presents a moving portrait of its central relationship doomed by societal constrictions. The female characters are well-drawn and vibrant, while the men are depicted sympathetically.

Although its sendup of L.A.'s shallow, self-absorbed show business culture is not exactly revelatory, the film does deliver solid laughs, many of them thanks to Philips' wittily provocative, surprisingly hostile confessional ditties.

V. Scott Balcerek's documentary Satan & Adam makes for fascinating viewing. And even as the film captivates, it sparks instant theorizing as to who will play the lead roles in the inevitable Hollywood feel-good dramatization. I'm thinking Ryan Gosling and Samuel L. Jackson.

Barbershop: The Next Cut, the third installment in the film series, brings the laughs while injecting a serious topical theme that gives it a welcome edge.

Imperium traffics in familiar undercover cop thriller conventions while gaining resonance from its disturbing, timely milieu.

There's nothing at all original about Locusts, from its rather too symbolic title to its all-too-contrived plot. But director Davis, working in collaboration with producer-director Angus Watts, has crafted an uncommonly stylistic example of its genre, infused with mordant humor and, true to its locale, plenty of exotic dead animals lying in the road.

Torn approaches its incendiary topical issues with intelligent modesty.

Presenting an evocative portrait of a now-bygone era in the city's past, The Last Resort delivers plenty of nostalgia as is spotlights the work of two photographers who captured the period with vivid immediacy.

Ascent sometimes lives up to its title by proving a slog, not fully earning its feature-length running time. But the film nonetheless exerts fascination with its haunting imagery.

Using a cinema verite style to explore this little-known subculture, the filmmaker presents a tender portrait of his subjects who have little place in their country's society.

Juggernaut accumulates an undeniable raw power thanks to such elements as its bleak setting, evocatively captured in Patrick Scola's dark-hued cinematography; the jittery, strings and percussion-heavy musical score by Michelle Osis; and the excellent performances.

The American Side is a loving homage that should be of particular interest to film buffs who can play spot the references.

Kristina Lindstrom and Kristian Petri’s fascinating, if diffuse, documentary fills in that considerable blank in his public profile while making clear the lingering emotional impact of Andrésen’s brush with fame.

It’s all tremendously silly but somehow it works, thanks to combat choreography that would make Jackie Chan proud and the introduction of America’s premiere new comedy team, Awkwafina and John Cena.

Flirting intriguingly with film noir conventions, the film never really achieves a coherent tone in its depiction of the complicated and sometimes fatal series of events that arise.

Although A Man Called Otto never fully rises above its obvious plot machinations, director Forster thankfully applies a fairly restrained, subtle approach. The result is a film to which you ultimately find yourself succumbing even though you never stop being aware that your heartstrings are being shamelessly pulled.

The Syrian Bride manages to entertain even as it both moves and amuses.

A hard-hitting psychological drama about an actress who surreptitiously monitors her former assailant and his current prospective victim, Tape benefits from its well-executed thriller mechanics and terrific performances by its three leads.

Not a particularly deep portrait of its iconoclastic subject, this loving documentary should be of interest to aging baby boomers with long memories.

It can't be denied that Gift occasionally borders on being too New Agey for its own good, and, let's face it, its entire ethos can be boiled down to the simple phrase "Pay it forward." But don't be surprised if you're compelled to perform an unexpected act of generosity soon after seeing it.

The film serves as a concise biographical portrait and an excellent introduction to the writer's works.

Stones in the Sun occasionally suffers from didactic excess but nonetheless offers an intriguing look at this underexposed community.

Nonetheless, Island of the Hungry Ghosts casts an undeniably hypnotic spell. The documentary also serves as an important reminder that the United States is far from alone in mistreating its would-be immigrants.

While the film doesn’t chart any particularly new territory, it benefits greatly from Franklin’s subtle screenplay and performances infusing it with emotional power that sneaks up on you.

While the disparate thematic elements don’t mesh together seamlessly in Crater, the film offers enough fun and thrills to swell the ranks of aspiring astronauts.

[Hartnett's] charisma and surprising flair for physical comedy elevate this B-movie into something approaching A-level status, even if it’s ultimately undercut by its low-budget limitations and awkward tonal shifts.

Courageous reveals the duo's growing expertise as filmmakers with its skillful blending of moving drama, subtle comedy and several impressive action sequences, including a well-staged foot chase and a harrowing shootout between the cops and bad guys.

What threatened to be yet another routine exercise in raunchiness instead turns out to be a sweet, charming, hilariously funny love story that could emerge as a sleeper hit.

An earnest drama about spiritual redemption that is likely to strike quite a chord with certain audiences.

Gleefully gory and darkly funny, Monster Party is the sort of extreme genre exercise that separates real fans from mere dilettantes.

A solid ensemble, including many acting veterans, manages to make the film, on which Bobby Farrelly served as one of the executive producers, a diverting holiday comedy.

Virtually nothing of real interest happens in the first half, with the excitement only kicking in around the 45-minute mark. Fortunately, what follows is scary and involving enough to make the lengthy build-up seem worth the wait.

Exploring the issue of whether being pro-life and pro-gun are mutually compatible, The Armor of Light puts a human face on the perpetually divisive topic.

There are times when A Magnificent Life gets too heavily into the weeds, attempting to cover so many biographical bases that it loses narrative momentum. But the stylistic imagination and beautiful, hand-drawn animation on display more than make up for its awkward storytelling, and it ultimately emerges as a loving tribute to an important figure in French culture

Although overlong and diffuse, Oasis, written and directed by Lee Chang-dong, boasts many powerful moments.

Allowing its subjects to bare their souls as much as their bodies, Exposed is as frequently moving as it is entertaining.

Eva is a provocative and engrossing effort that, although trafficking in familiar themes, is a notable addition to the timeworn genre.

This tale of the team that for a brief period in the 1970s promised to popularize soccer in the U.S. has it all: heroes, villains, sex and, oh yes, some sports as well.

An impassioned ecology-themed documentary that ultimately is more rewarding for informational than cinematic reasons.

The sequel is certainly a stupendous achievement in terms of its animation, and clearly has great cultural resonance in its native country. But those looking for coherent storytelling or emotional depth will have to wait for the next Pixar offering (not that the company has been distinguishing itself lately).

It proves more interesting in its chronicling of the business practices that made the Beanie Babies such a sensation, at least for a while, than in its portrait of personal dramas, the veracity of which obviously has to be called into question. Overall, the movie follows a by-now familiar trajectory, with the company’s mammoth success inevitably followed by its big fall.

Advocacy filmmaking that also manages to succeed in pulling heartstrings.

It's a visually stunning experience. Even the shots of riders crashing, and there's enough of them here to fuel a dozen PSAs, achieve a haunting visual poetry.

Clever enough to not take his plot too seriously while fully indulging in its sentimentality, the filmmaker has crafted an undeniably feel-good romantic comedy. You'll have to try hard not to fall under its spell.

My Childhood, My Country, which inevitably recalls Michael Apted’s Up series, suffers from pacing issues and feels choppy at times. But its decades-long portrait of a young man struggling to survive amidst difficult circumstances proves deeply moving, especially in light of recent events.

Red, White & Wasted serves a valuable function by showcasing a culture and way of life with which many will be unfamiliar, and illustrating the financial hardships with which these folks are struggling. But that doesn't make spending time with them any easier.

Its elegant subtlety feels refreshing in this era of over-the-top horror films.

Primarily an actors' showcase, it does at least provide the opportunity for the virtuosic John Ventimiglia (The Sopranos) to strut his stuff in a well-deserved leading role.

Ordinary World becomes raggedly enjoyable thanks to the unexpected charms of its leading man.

While unlikely to change anyone's stances on the hot-button issue, the film emerges as a deeply moving portrait that makes palpably clear the desperation of women for whom attaining legal abortions is impossible.

Proves to be an engrossing and entertaining polemic that successfully walks a fine line between thoughtful debate and, well, juicy gossip.

It's hard not to have mixed reactions while watching Ted Balaker's documentary Can We Take a Joke? about how political correctness is stifling free speech, particularly when it comes to satire and stand-up comedy.

The Sisterhood of Night doesn't fully live up to its promise, with its themes never quite coming into focus. But along the way it presents a vivid depiction of teen angst that feels far realer than the usual exploitive Hollywood treatment.

There's no denying that it is often outrageous fun, and the news that Fragasso and Drudi are working on a script for "Troll 2: Part 2" is but the icing on a very nasty cake.

Fortunately, unlike so many similarly politically themed documentaries, the film makes its case with substantial intelligence and conviction.

The expert cinematic stylization on display proves ample reason to forgive The Night for any narrative shortcomings.

Although unlikely to make any new converts, The M Word should well satisfy the filmmaker’s small legion of devoted fans.

For much of the way, The Bad Guys is antic fun, aided immeasurably by the terrific vocal performances.

Arriving three decades after the fact, this docudrama doesn't quite do justice to its important subject.

An eccentric comedy likely to be best enjoyed by those steeped in the original novels, Band of Robbers doesn't quite spin its imaginative conceit into comic gold, but it offers some minor pleasures along the way.

An evocative portrait of strained friendships and creative turmoil.

Well acted and smartly written, the film is an eye-opening sociological portrait that also manages to be a compelling human drama.

The story was already told in the 2008 documentary More Than a Game, but that won’t stop the GOAT’s fans from wanting to see this lovingly rendered adaptation that covers all the early career highlights, albeit sometimes in sanitized form.

These talented performers star in two of the wittiest, most sophisticated sitcoms on the air, but for this movie pairing they're stuck with an endlessly silly plot line and overblown physical mayhem that is instantly forgettable. The fact that they make it so funny nonetheless is a testament to their abilities.

The film offers enough astute insights and terrific interviews and performance footage to attract buffs while serving as a superb introduction for neophytes.

As a film, Victor Kanefsky's documentary about the iconoclastic painter Robert Cenedella makes a great art exhibit.

The screenplay boasts a psychological complexity rare for thrillers of this type, manifested most strikingly in the form of Bernard, who is far from a cardboard cutout villain.

Definitely hewing to the “If it ain’t broke, don’t fix it” philosophy regarding big-screen versions of long-running television shows, The Bob’s Burger Movie should well satisfy devotees.

While the arguments obviously will be digested differently according to the viewer's preconceived notions, the impressive credentials of the witnesses, most of them former insiders rather than mere pontificators, give their arguments an undeniable credibility.

The film delivers a compelling portrait of the complicated issues involved.

Informative if selective documentary will eventually find its natural home on the History Channel.

Gorgeously photographed and edited, the film has the look and pacing of a thriller, albeit one with near-Shakespearean dramatic dimensions.

In effect an elaborate home movie. But its examination of the long-lasting effects of evil on the psyche of its victims and their descendants is both thoughtful and much needed in these increasingly polarized times.

Although Cinevardaphoto is hardly a major work, it does represent the latest (and earlier) chapters in the career of a fascinating filmmaker.

Breathlessly paced and filled with the sort of black humor that makes it as much a comedy as a horror film, Abigail is wildly entertaining for most of its running time, although it becomes overly burdened with baroque narrative flourishes.

Comes as a godsend to those hordes of desperate parents unable to secure tickets for their heartsick tweens during the teen star's sellout tour last year.

Mitchell proves as interesting a figure as the downtrodden people he's dedicated to helping. More often seen shirtless or in a tank top and shorts than a judge's robe, he would certainly qualify for a "Sexiest Judges of Los Angeles" calendar should one ever be created.

Ultimately stronger on characterization and atmosphere than narrative. But its portrait of a society torn apart by, among other things, religious fundamentalism, is all too currently resonant.

The film's impact is greatly enhanced by the superb performances by the young lead actors who handle their characters’ complexities with impressive skill.

Using Walter Hill's cult classic film "The Warriors" as a cultural touchstone, Shan Nicholson's documentary Rubble Kings recounts their stories in breathlessly paced, vivid fashion.

It does offer plenty of musical numbers and an impressionistic portrait of his life and times.

Madtown is an intriguing drama featuring well-drawn characters and incisive dialogue.

The Wrecking Crew doesn’t set out to reinvent the formula, but rather luxuriate in it.

Has its pacing problems, and the special effects are strictly of the cheesy variety, but it provides enough genuine scares to make it thoroughly enjoyable, especially if seen at a drive-in on a hot summer night.

For connoisseurs of stories of show business near-disasters, "Bells" is compelling viewing.

Indie coming-of-age dramas are not exactly an endangered species, but Michael Kang's debut drama is an admirably intelligent and modest example of the genre.

For all the sloppiness of its approach, The Lost Arcade is an enjoyable and nostalgic portrait of a bygone era and a local institution that has now lost the pungent atmospheric flavor that made it so unique.

Despite the stylistic glitches, Radium Girls proves engrossing, thanks to its powerful real-life tale and the excellent performances by leads King and Quinn, who make us fully care about their characters' fates.

It's Smith's eccentric oldster who is the film's driving force, and the 80-year-old actress doesn't disappoint.

You're Not You isn't entirely successful in avoiding a television movie-style predictability in its depiction of its central character's incapacitating illness. But its superb performances and emotional complexity ultimately elevate its familiar themes.

Gigandet, whose star has been rising thanks to his roles in such films as "Twilight," "Burlesque" and "Easy A," delivers a sensitive portrayal that proves he's more than just a hunk. Malone is as appealing as always, and Hartman is wonderfully fun as the Buster Poindexter-like singer. But the script lacks the depth to transcend its cutesy gimmick.

Infusing its familiar dystopian sci-fi tropes with stylishly gonzo, low-budget filmmaking and inventive narrative flourishes, Upgrade proves far more entertaining than it has a right to be.

The film possesses a quiet but powerful tension.

Despite superb performances by Nat Wolff as a conflicted young soldier and particularly Alexander Skarsgard as a sociopathic platoon leader, the picture proves only sporadically compelling.

Their low-key chemistry and obvious affection for each other despite their past issues are still very much on display, delivering a nostalgic kick that you don’t even have to be high to enjoy.

Although obviously geared to the small fry who will no doubt eat it up, Teen Titans Go! To the Movies will provide many laughs for their adult chaperones as well.

The leisurely narrative is barely able to sustain the film's full-length running time, and some of the obviously staged sequences involving the family of shepherds are annoyingly hokey. Nonetheless, "Weeping Camel" has an undeniable appeal.

Lacks the powerful focus of the filmmaker's debut effort and often flounders under the weight of its melodrama and contrivances. But it also boasts many well-observed moments and features stellar performances by its youthful cast.

The film overcomes its schematic plot elements with finely observed characterizations and rich dialogue.

Reynolds’ boundless appeal, the frequently witty screenplay and expertly rendered technical aspects make the film enjoyable summer frivolity.

The actor's compelling self-exposure, physically and emotionally, draws us into such a degree that we genuinely come to care about his well-being.

Pugh delivers a superb starring performance that serves to accentuate her growing artistic stature and co-star Morgan Freeman turns in his best work in years after appearing in far too many sub-par vehicles. Their efforts lift A Good Person, which otherwise too often feels familiar in its themes and self-conscious in its melodramatic plot contrivances.

Filmmaker Leon Gast ("When We Were Kings") paints an entertaining portrait of the still-working 79-year-old photographer.

While its convoluted storyline never fully convinces, Midnighters never lets up on the tension, making it easy to go along with its contrivances.

This affectionate portrait includes extensive interviews with Wertmuller, who remains vital in her late 80s, as well as performance footage of her singing her original compositions.

The film is a proudly over-the-top, entertaining musical comedy extravaganza.

While My Country, My Country is hardly an exhaustive depiction of its subject, it provides much in the way of material and perspectives previously unexposed.

For all its effective camerawork and editing, the film can't fully convey the experience of seeing its subject in person. But it certainly provides more than enough motivation for making every effort to do so.

The film is a meditation on its themes, and as such is probably too amorphous for its own good. But Vanquishing nonetheless represents a typically audacious effort from an intriguing filmmaker whose work bears future attention.

A highly informative if rather hagiographic portrait of the notable playwright and performer, The Lady in Question Is Charles Busch should prove quite enticing for the legions of fans who have followed him throughout his career.

The film never quite registers with the desired emotional impact, having the feel of an ambiguous short story rather than a fully-fleshed out drama. But the evocative imagery and subtly piercing performances provide a vivid portrait of lives of quiet desperation.

A surprisingly frank effort that demonstrates that the country's censors may be loosening their reins. This well-acted portrait of a young single mother displays a universality that should translate well to the art house circuit.

Dear Santa delivers a desperately needed dose of holiday cheer during these troubled times that will leave even the most Grinch-like of viewers bathed in their own tears.

This contemporary riff on "The Sunshine Boys" generally manages to succeed anyway, thanks to the entertaining performances by Mac and co-star Samuel L. Jackson and its generous doses of raucous humor and sweet soul music.

This is one film that’s definitely worth catching on the big screen.

For the most part the film is compelling, with Jones' riveting performance as the alternately sympathetic and nasty protagonist anchoring the proceedings.

A fascinating if uneven portrait.

Scenes of dark humor abound as well, like the episode in which the gathered journalists react in fury when they are not provided with pictures of the infamous deck of playing cards depicting the "50 Most Wanted" Iraqi figures.

Botso is a deserving homage to a life well lived.

Boasting excellent performances by screen veterans Peter Mullan and Gerard Butler, the latter delivering one of his best turns in years, The Vanishing feels familiar in most ways, including its title (the same as George Sluizer's classic Dutch thriller and its mediocre American remake). Nonetheless, the film proves highly effective with its slowly ratcheted up tension and eerie atmospherics.

Although far from comprehensive, the entertaining cinematic biography should well please the singer's longtime fans, particularly those who have followed him through his career spanning six decades, and possibly make him some new ones.

What Amir Bar-Lev and Charlie Lightening’s documentary provides that hasn’t been previously available is an amusing portrait of the backstage goings-on.

Ultimately, what distinguishes the film from the many Statham shoot-em-ups that have preceded it is Mason’s increasingly close relationship with the young girl, excellently played by Breathnach, who helps him get back in touch with his human side.

The whole point of Lives Well Lived is to showcase inspiring individuals, and in that regard it succeeds handsomely. Director Bergman effectively alleviates the visual tedium of a series of talking heads by including plenty of home movies, vintage photographs and archival footage of historical events that figure in the commentary.

The result is a deeply intimate and revealing family portrait that proves admirable in its objectivity if occasionally frustrating in its sprawling sketchiness.

The film's strength lies in its honest and realistic portrayal of mental illness and the toll it exacts on those in its sufferer's orbit.

Despite its missteps and occasional pretensions, Jeremiah Tower: The Last Magnificent provides a compelling portrait of the chef as tortured artist.

Entertaining and substantive enough to be interesting even for those completely unfamiliar with weaves and relaxers.

A quietly effective thriller with a few clever narrative tricks up its sleeve.

The Union proves as entertaining as its Netflix algorithms would have predicted, balancing its impressive star wattage with lavish production values to remind viewers of the value of their monthly subscriptions.

The filmmaker, who co-founded ADI with his wife Jan Creamer, documents the dramatic developments in compelling cinema verite fashion.

In this enjoyable if trivial battle between von Trier's psychodrama theatricality and Leth's cool formalism, it's ultimately the viewer who comes out the winner.

The film is an atmospheric and complex thriller that, while not quite living up to its thematic ambitions, more than sustains interest along the way.

Overcomes its essential familiarity thanks to a frequently witty script, grounded direction (by Peter Cattaneo, of "Full Monty" fame) and an engaging turn by its star that proves him more than capable of carrying a comedy feature.

There’s enough carnage and violent action on display to satisfy Predator fans whose cinematic bloodlust knows no bounds, and the dramatic change in milieu provides some much-needed freshness. Featuring a cast composed almost entirely of Native and First Nations actors, Prey has clearly taken pains to be as authentic as possible.

Lacks the subtle power of the previous two efforts, although boasting effective performances from its terrific cast.

It periodically exhibits flabbiness throughout its overlong running time and sometimes has the contrived air of a promotional video. But it nonetheless serves as a powerful portrait of its subjects who overcame severe adversity and continue to make music.

Odessa ... Odessa! could use a little more narrative substance to augment its haunting imagery but is ultimately a memorable portrait of cultural dislocation.

93Queen is rough-hewn technically and, although it includes brief interviews with several other members of the female EMT corps, it would have benefited from a wider focus. But it's excusable that the filmmaker would concentrate so much on her central figure, whose fierce intelligence and indomitable spirit render her truly inspirational.

Considering that there seems to be no end in sight of the country's involvement in the Middle East, the film proves timely and affecting.

For all its aesthetic deficiencies and self-promotional aspects, it at least provides a valuable and important message.

Doesn't exactly bring anything new to the genre, it's no less effective than its predecessor in expertly conjuring an air of low-tech-style dread.

While the rough-hewn filmmaking occasionally reveals Rapman's lack of experience working with a larger cinematic canvas, Blue Story boasts an immediacy and energy that perfectly suit the material.

The killer himself takes a far more prominent role in this edition, and as played by the superb Tobin Bell he's quite a memorable creation.

Infusing her portrayal with equal measures of steeliness, vulnerability, sexiness and sly humor, Dhavernas bares herself both physically and soulfully in a magnetic performance that anchors the film.

Rodents of Unusual Size proves enjoyably quirky and informative.

Even with the interesting historical and individual stories, the doc would have benefited from a more expansive focus. It feels limited at times, both in its small number of personal profiles and the sketchiness with which it delivers the necessary context. There's no denying, however, its passion and conviction.

As for the trio of animals who play Lulu, suffice it to say that if the film is a hit, kennels won’t be able to breed Belgian Malinoises fast enough. Forget the near-naked stripper gyrations in Magic Mike; when Tatum wraps his arm around Lulu as they sit and watch the sunset together, it’s the sexiest he’s ever been onscreen.

Wearing the proverbial black hat and speaking his menacing lines in a husky, near-whisper, Cusack thoroughly galvanizes the proceedings.

The actor (Shepard) delivers a beautifully understated, world-weary turn that largely makes up for the slow-paced film's longueurs, and which in a better film could be described as iconic.

Sonic the Hedgehog 3 gets the job done, and should provide entertaining diversion for families during the holiday season.

The Bleeding Edge is a terrifying eye-opener.

It is a provocative and potentially rich premise, to be sure, but the execution here is somewhat lacking.

While Kramer's well-conceived screenplay features much amusing dialogue, there's a forced quality to the proceedings that makes the comic premise seem more artificial than it needs to be.

The film makes an extremely powerful, timely and important statement, especially coming from someone whose name carries such symbolic weight. Disney deserves tremendous credit for standing up for what’s right, even if it means biting the family hand that feeds her.

While it provides a sometimes thoughtful examination of modern sociological issues, The Architect unfortunately succumbs to melodrama in its depiction of its troubled characters.

Delivers enough tense atmospherics to make it worth checking out for sci-fi fans.

Norm of the North is mildly diverting, although Pixar needn't be overly concerned.

The film is an initially insightful portrait of modern corporate society that unfortunately lapses into melodrama.

Veers wildly from slapstick comedy to melodrama, but writer-director Rahul Bose, making his feature debut, handles the transitions more effectively than is usual, and the film is generally entertaining even when it's being utterly ridiculous (or maybe especially when it's so).

Although more than a little meandering and self-indulgent, the film is likeable nonetheless thanks to its incisive characterizations and canny capturing of true-life moments.

The Boy From Geita is a harrowing depiction of ignorance and superstition run amuck.

Rosenwald is not always successful in doing full justice to its rich subject matter, suffering from pacing problems and occasionally feeling drawn-out in its feature-length running time.... But it certainly deserves kudos for bringing long overdue attention to this unsung figure whose life was one big mitzvah.

It would have been nice if Cold Brook had added up to something more substantial, but at least it's a film about grown-ups who generally try to behave that way, and these days that feels like a rare thing.

Despite its occasionally stale elements, the film succeeds movingly thanks to the inherent power of its narrative and the terrific performances by Boosher and the four young actresses (Amber Afzali, Nina Hosseinzadeh, Sara Malal Rowe, and Mariam Saraj) as the team members.

Features enough genuine laughs to give it decent commercial traction.

The Incomparable Rose Hartman doesn’t quite make the case for lengthily profiling its irascible and not particularly interesting subject.

While the duo's crimes were indeed sensational, writer-director Todd Robinson's starry take on the material fails to provide much in the way of a new perspective.

It’s all about as familiar-feeling as it sounds, but it goes down easily thanks to McG’s skillful, fast-paced direction, the imaginatively lavish CGI-enhanced visuals, and King’s impressive performance.

Diane falters toward the end, with the story's denouement not quite living up to the provocative set-up. But it nonetheless exerts a fascinating pull that makes you very interested to see what its talented filmmaker comes up with next.

The effectively deglamorized Cattrall is terrific, investing her portrayal with a complex mixture of vulnerability, toughness and still-powerful sexuality.

Fortunately, its talented and appealing young ensemble make it go down as easily as a cold beer on a hot…well, you know.

Lacks the cinematic panache to elevate it above the level of agitprop. But its all too relevant dissection of its subject is well worth paying attention to.

Much like the songs of Willie Nelson that populate its soundtrack, the film relies on a general uplifting atmosphere as the indefatigable Greta stops at nothing to fulfill her dream.

Peppermint lacks subtlety and anything even remotely resembling credibility, but like its heroine, it certainly gets the job done. It's the sort of picture that would have been boffo on a grindhouse double bill in the '70s.

While The Storyteller hardly breaks any new ground in its Peter Pan-inspired tale, it boasts an undeniable sweetness that proves appealing amidst so many frenetic kids movies.

It's an intelligent, well-done pic whose restraint can be commended. But it also operates at such a slow burn that it comes close to fizzling out completely.

An affecting drama marked by solid performances and a refreshing restraint in the way it delivers its religious message.

While not as balanced or fully satisfying as it should be, Matthew Barney: No Restraint will fit naturally as a pairing for future theatrical and DVD exposures of Barney's controversial works.

If the film ultimately lacks the narrative focus necessary to make it stick in your waking memory, its shocking images may well haunt your nightmares.

It’s Crowe who’s the film’s MVP.

Midnight Sun does an effective job of tugging at vulnerable teenage hearts, while managing to provide a few laughs along the way. None of the film rings remotely true, especially the cornball conclusion, but the two young leads are so darn attractive and appealing that one can't help being caught up in their characters' poignant romance.

Although the film’s overstuffed, overpopulated storyline proves only sporadically interesting, it’s notable for at least providing an alternative view of a city more commonly associated with wintry gloom, corruption and heavy drinking.

Yet another ode to the pleasures of overindulgence. The experience of watching this loosely plotted comedy set in the suburbs of New Jersey is somewhat akin to spending a nice summer day playing softball with your friends. Only without the sun, the fresh air, the exercise or the fun.

Slasher film fans should embrace this Texas Chainsaw Massacre, which pays loving homage to the original via a variety of Easter Eggs and doesn’t at all stint on the gore. Seriously, there’s so much blood splattered on the screen that you’ll have an urge to wear a poncho if you sit too close.

While the filmmaking is crudely effective at best, it successfully showcases the physical, if not the acting talents, of its largely female cast.

The dialogue is frequently fun and snappy, and the colorful supporting characters help to sustain our interest.

All of this material proves fascinating. It's a shame, then, that so much of Intent to Destroy plays like a special feature for the DVD edition of The Promise.

A diverting blend of "Rear Window"-style suspense and autumnal romance. While the film is ultimately unable to fully succeed on either front, it offers many pleasures along the way.

Displays moments of cleverness but not enough to sustain its feature-length running time.

None of this would work nearly as well without Bell, whose raspy voice and menacing gravitas are so riveting that he makes Jigsaw’s oft-repeated declaration “I’d like to play a game” scary as hell. He’s made the character truly iconic, much like Robert Englund did with Freddy Krueger. Accept no substitutions.

The filmmakers, longtime music video veterans, have delivered a technically polished production that belies the film's low budget. They've also elicited mostly strong performances.

Talkington indulges in a lot of directorial flourishes, some of which work and some of which don't, but they definitely lift the proceedings above the mundane. [28 Nov 1994]

The film pretty much packs every canine cliché imaginable into its running time, but one look into the soulful eyes of its four-legged star will melt all but the coldest of hearts.

The Dirties is as provocative as it is sloppily messy in its themes.

It suffers from a lack of genuine chills or suspense that renders its slight virtues rather moot.

The live-action Lilo & Stitch is faithful enough to the original to please traditionalists and tweaked enough to feel somewhat fresh.

Braid ultimately offers far more style than substance. But it provides many memorable moments and stunning visuals along the way, making it a cinematic ride worth experiencing for more adventurous viewers.

There’s absolutely nothing memorable about the film.... But it boasts plenty of gritty period atmosphere and earns points for its lack of pretension.

Although it never quite lives up to the satirical possibilities of its high-concept premise, Unleashed delivers some mildly enjoyable laughs thanks to its engaging female lead and the exuberantly physical performances of her co-stars.

Its blizzard of statistics notwithstanding, the film consists mostly of true-life stories that, while undeniably tragic, stir up more emotion than thought.

Spends an inordinate amount of time ogling the tight, lithe bodies of its young female characters. Thus, what might have appealed only to teen girls might well have crossover appeal to leering young boys as well.

Lacking narration or graphics, the documentary employs a fly-on-the-wall approach that proves frustrating.

While its mixture of cinematic styles is awkward more often than not, Girl Rising deserves points for at least trying something different rather than relying on the bone-dry, academic approach usually employed for such informational ventures.

While the human performers are more than adequate, there’s no doubt that the canine stars carry the day. Their utter irresistibility helps a long way in terms of getting past the corny plot machinations of A Dog’s Purpose.

Heavy on oppressively humid atmosphere and light on originality, the film is a mostly forgettable genre exercise whose viewers won't miss much by watching at home.

Fortunately, the new actioner directed by the prolific Steven C. Miller (First Kill, Arsenal, Marauders) proves fast-paced enough to overcome its more ludicrous plot elements.

A visually arresting cinematic essay that, unfortunately, makes its points long before its conclusion.

Both in terms of the activities and characters depicted, Rank doesn't truly manage to sustain interest for the course of its feature-length running time.

Diffuse and rambling at times, An Animated Life, which sometimes has the feel of a tribute film shown at an award gala, is not as compelling as such similarly themed docs as "Waking Sleeping Beauty" and "Frank and Ollie." But it nonetheless serves as an entertaining salute to an unsung figure whose considerable accomplishments well deserve recognition.

A film that doesn’t quite know whether it wants to educate its audience or give it a thrill ride. It proves more interesting for the former elements than the latter, but it nonetheless delivers plenty of compelling moments along the way.

Atmospheric visuals and strong performances aren't enough to compensate for this would-be poetic drama's thin plotline.

The Reckoning: Hollywood's Worst Kept Secret is generally effective as a fast-paced primer on the sexual harassment scandals that have swept show business in the last year but doesn't really add much to the story that we don't already know.

The film would have benefited from director Jeff Celentano perhaps picking up the pace a little, and the deletion of some extraneous subplots. But the climactic sequence, in which Rickey bats through the pain while encountering the toughest pitchers he’s ever faced, provides the perfect stirring conclusion.

Itsy Bitsy works well enough on its own terms, providing some genuine jolts and benefiting from the excellent performances.

It’s all dumb beyond belief, of course, but the film (efficiently directed by Simon Cellan Jones) is so fast-paced that you settle into its now well-honed formula as if it were a recliner equipped with an eggnog dispenser.

The Super isn't distinctive enough to make it stand out amongst the glut of urban-set horror films. But it is chilling enough to make glass-walled, modern high-rises a lot more appealing.

Sweaty Betty has a likable quality and an obvious affection for its subjects who maintain a resolute cheerfulness throughout their struggles. But it's hard not to wish that the shambling material had been constructed into a more cohesive whole.

Henry & Me is a heartwarming tale that should prove irresistible to young baseball fans.

Filmmaker Harry Michell doesn't quite stick the landing in his sophomore feature, aiming for a complex mixture of comic irreverence and sensitive character study. But he does earn points for creative ambition, and Say Your Prayers, benefiting from a terrific ensemble, has enough entertainingly startling moments to mark its filmmaker as capable of bigger and better things.

While it offers some mildly frothy diversions, the Pedro Almodovar-styled Cupcakes lacks the cinematic nutrition to overcome its empty calories.

Shot in actual 3D rather than being the latest example of the horrible post-shooting conversion process, "Afterlife" undeniably looks terrific.

While its narrative elements threaten at times to descend from whimsical into hopelessly twee, My Name Is Emily ultimately finds a proper, if not particularly compelling, balance.

While visually stylish and thematically ambitious, Secret Things is ultimately more preposterous than provocative, its vague explorations of sexual and class struggle failing to coalesce in a coherent manner.

Takes a surprisingly gritty approach that gives the material some gravitas but also robs it of some of its fun.

The well-chosen profile subjects prove both engaging and sympathetic in their fears and desires, giving the film a much-needed emotional resonance.

Tokyo Decadence, a midnight film if there ever was one, is the ultimate date movie for the S&M crowd. [30 July 1993]

Nonetheless, Ghostbusters: Frozen Empire tries hard, very hard, to satisfy the series’ fans with plenty of nostalgic throwbacks and mainly succeeds.

The film, marking Ben Hernandez Bray's directorial debut, is mainly a violent police procedural and vigilante drama that succeeds well enough on those terms. It's also notable for its almost entirely Latino cast and deep immersion into East Los Angeles culture. The pic certainly looks authentic, despite the fact that it was largely shot in Calgary.

How She Move doesn't exactly break any new ground. But the terrific dance numbers on display should please its teenage target audience.

The doc serves the valuable purpose of shedding a much-needed spotlight on a problem that, as anyone who's recently walked on any city's streets can attest, only seems to be getting worse.

Risen is fairly engrossing in its thriller-like section, with Fiennes' restrained performance providing a solid dramatic anchor and the Maori actor Curtis being a nice change from the usual blonde-hair/blue-eyed Jesus. But when the film shifts into inspirational territory it ironically becomes far more prosaic, depicting the miracles in a low-budget, low-key fashion that will hardly win any converts.

The proceedings have a certain haunted quality, thanks to the dramatic setting and the stark black-and-white cinematography by Steve Cosens that fully conveys its bleakness.

Compensating for its less than convincing special effects with some intriguing plot twists and bracingly nihilistic situations, The Human Race is a reasonably compelling low-budget genre item.

A reasonably amusing effort that manages to poke fun at Brooks' neuroses and governmental blundering with equal skill.

Incident at Loch Ness manages to cross "Project Greenlight" with "The Blair Witch Project" in a way that makes one pine for the originals.

The winning performances by its two leads elevate this contrived Israeli import.

Danger Close provides a vivid portrait of combat and its emotional and physical aftermath. But despite its harrowing footage and moving elements, the film may feel all too familiar to viewers who have become numb in the face of seemingly countless other similar efforts.

While Asbury Park: Riot, Redemption, Rock 'n' Roll too often feels like a promotional video created by a local tourism organization, it nonetheless provides an engaging history of the town and its once-vibrant music scene.

Cogent documentary makes the persuasive argument for the role that U.S. military and corporate interests have played in the influx of immigration from Latin American countries.

Fortunately, the terrific lead performances by Jonathan Pryce and newcomer Jerome Holder are enough to help Dough rise above its formulaic ingredients.

That it all works to the extent that it does is due to its undeniably sweet depiction of a close-knit extended family whose members truly care for and help each other. It's cinematic wish fulfillment in this era of broken families and far-off relatives who keep in touch via social media.

Traded features nary an original element but nonetheless registers as a solid if minor oater.

The documentary will nonetheless strike an emotional chord with anyone who's grown up eating the product it celebrates. And over the course of 100 years, that's a lot of matzos.

A slickly made, effectively atmospheric B-movie suspenser that marks a promising feature debut for its writer/director, who also plays a featured role.

Will best be appreciated by those already familiar with the fashion world in general and Saint Laurent in particular.

While lacking the technical polish necessary to lift it into a more elevated cinematic dimension, Philip T. Johnson's directorial debut earns points for its thematic ambitions and cheeky wit.

Much like its central character, the film at least proves honest in its intentions.

With its clever premise and quartet of appealing comedic star turns, Wild Hogs is a step above the typical comedies rolling off the assembly lines of the major studios.

Delivering a fully committed, moving performance, Thomas Haden Church makes you pay attention to a figure you would otherwise pass by without a second thought.

While only sporadically effective in its attempt at creating a modern-day Psycho, Forgetting the Girl does manage to sustain a sufficiently disturbing mood that is not easily forgotten.

Doesn’t exactly dig very deep, but its often fascinating archival footage and stories of royal lineage dating back to the days of Queen Victoria (who bore no less than nine children) surely will delight devoted Anglophiles.

Rodrigo H. Vila’s documentary about the famed Argentine singer and political activist suffers from its overly insular and hagiographic perspective, but in its best moments it well illustrates the reasons for her musical influence and social importance.

Contains enough fascinating archival footage to make it worthy of interest.

The film reveals the influence of director/co-writer Werthman's profession because it adopts a highly clinical and thoughtful rather than exploitative turn. Although at times one wishes for a little more heat, of both the dramatic and erotic variety, there is an admirable intelligence and restraint on display.

Although its formulaic storyline...holds no surprises, the film nonetheless exerts a certain charm.

Despite its flaws, the film proves very moving at times. The characterizations which start out excessively quirky eventually become subtler and more nuanced.

Giacomo Durzi's aptly titled documentary Ferrante Fever delivers a fan-friendly examination of the novelist and her works, and what it lacks in depth it more than makes up for with enthusiasm.

The film, which feels attenuated despite its brief running time, doesn’t dig deep enough to provide more than an impressionistic portrait.

The plot, of course, is merely an excuse for an endless series of gags, and the percentage of them that score is fairly high. But since the jokes are based over and over on the fact that Lloyd and Harry are really, really dumb, a certain repetitive factor sets in.

Speaking his (Rourke) lines in an unintelligible accent that occasionally requires subtitles and wearing a white suit that never seems to get bloody even when he’s stabbing people to death, the actor brings an undeniably fascinating strangeness to the otherwise familiar proceedings.

The War with Grandpa will probably prove riotously funny to small fry while providing some compensations to adults with its supremely overqualified cast.

A bit too rambling and diffuse to be fully educational, We Weren't Just Bicycle Thieves nonetheless serves as a valuable introduction to its subject.

Patrick McGrady's documentary strains to reconcile its conflicting moods, but Fry's gushing enthusiasm for the subject is ultimately if sometimes queasily infectious.

While this cinematic adaptation of W. Glasgow Phillip's acclaimed 1994 novel isn't wholly effective in handling its complex storyline, the film offers compelling performances by its two leads and enough provocative elements to make it worthy of attention.

The Great Gilly Hopkins has its enjoyable moments — Bates' entertaining, scenery-chewing turn providing many of them — and its themes are refreshingly complex for a film targeted to kids.

Mainly will appeal to devotees, but even nonfans might want to appreciate its visual splendors on the big screen.

There are undeniably arresting moments along the way, thanks to Dafoe's subtly intense performance and the well-crafted visuals.

This is an affectionate portrait rather than a meaningful critical analysis.

While Botero proves an enjoyable and accessible primer about the octogenarian Colombian-born artist whose paintings and sculptures have delighted millions, it lacks the depth and context to make it more than an easily digestible tribute seemingly designed to be shown on an endless loop at the Museo Botero in Bogotá, Colombia.

Not for the faint-hearted.

Ultimately, Crime 101 feels too contrived and artificial to be convincing. But there’s plenty to appreciate along the way, especially the extensive cinematic craftsmanship that’s gone into it.

While the pic proves too frivolous to make its satirical and social points fully register, it offers diverting pleasures along the way.

Although repetitive at times and, like so many show business documentaries, displaying a tendency toward self-congratulation, the film will prove fascinating for dance buffs.

The high-wire tonal balancing act proves a little wobbly at times, resulting in a film that is feels less than the sum of its parts. But some of those parts work very well, providing moments of uncomfortable hilarity and genuine poignancy.

While it offers more style than substance, Bullitt County delivers an engrossing tale with enough twists to satisfy thrill-loving audiences. If anything, it offers too many twists, proving unable to live up to its considerable narrative ambitions.

Despite the occasional jolts, Phantom of the Theatre is not particularly scary. But as befitting its milieu, it looks fabulous.

It's the female performers who steal the show, especially Whitman as the uber-confident Zelda and Alexander as the girlfriend who tolerates Bernard's immaturity even while calling him out for it.

Pantoliano brings his usual degree of wily, understated humor to his role and is ably supported by the terrific ensemble, but he's unable to elevate a film that is ultimately as directionless as its protagonist.

Stylish and well-observed while ultimately not adding up to very much.