Gary Goldstein

There’s much to admire about this alternately tough and tender film, including a fine turn by Caton, some striking outback scenery, and many resonant thoughts about living — and dying.

It’s hard not to be taken by these beautiful animals’ intelligence and devotion. More specifics about the dogs’ training, care and the costs involved would have been a plus. Otherwise, it’s a stirring portrait of war, duty, sacrifice and the love of a good dog.

Producer-director Markus Imhoof tackles a hugely vital subject, but the film's loose structure and lack of a specific through-line don't make for the clearest intake of its, well, swarm of information.

The film rarely soars with the kind of authentic spirit and passion needed to fully sell this decidedly old-fashioned material.

It's impossible not to root for these driven, high-spirited participants - and for the longevity of this invaluable program.

That the movie works as well as it does is a testament to writer-director Thomas Farone's persistence and clear connection to his cagey material.

There are enough curiously deadpan, cringeworthy bits in Laerke Sanderhoff’s loopy script to keep you hooked, even as you search for the point of it all.

The movie, although truthful, moving and, at times, profound does more “telling” than “showing” and could have used a more visually commanding approach.

Nakache and Toledano...pepper the film with enough stirring emotional beats, crowd-pleasing bits...and vivid supporting characters such as Samba's ebullient immigrant pal, Wilson (Tahar Rahim), that there are distinct pleasures to be had.

The largely engaging class-reunion dramedy 10 Years allows audiences to pretend they went to high school with the likes of Channing Tatum, Justin Long, Rosario Dawson, Anthony Mackie and Kate Mara.

That Hawke so closely aligns his cinematic style, inventive as it is, with the story’s disorderly, scruffily offbeat characters and settings is both a strength and a liability. His kaleidoscopic, at times ghostly, approach proves a valiant if studied effort.

Although first-time feature writer-director West Liang misses the boat on depth and any sort of memorable emotional unraveling, he touches on a range of realistic, recognizable feelings and dynamics: romantic, marital, parental, professional, sororal.

To his credit, writer-director Nathan Morlando has crafted a stylishly shot and evocatively designed period piece. But it's the dashing, quietly charismatic Speedman who proves the main draw, holding our attention even when the movie doesn't.

Chittenden and Tzu-yi are expressive actors, but, like the film itself, are hamstrung by the project's self-imposed confines.

Plot holes aside, the filmmakers provide enough well-timed jumps and energetic moments to keep the highly contained picture afloat.

Kundo: Age of the Rampant is an often entertaining if overlong look at the last days of Korea's Joseon Dynasty.

Given the number and range of kids in view, there's a limit to how much specificity can be jammed into one movie.

For the chance to become acquainted with Salomon’s tragic and unique tale, as well as with her enduring output, this well-intended portrait is worth a look.

The product is more pop vanity project — and one that's a bit late to the party — than onion-peeling dissection.

For all its energy and charm, this overlong film contains its share of undermining missteps.

Aside from a few missing transitional beats and one too many coincidental encounters, the picture's fluid, zigzagging sexuality and emotional high-diving prove largely credible and diverting.

Despite sincere efforts, it too often plays more like a glorified home movie than the kind of polished, fully dimensional work the subject deserves.

Skippable 3-D aside, it's a serviceable, limber follow-up to 2010's "Percy Jackson & the Olympians: The Lightning Thief."

It’s watchable and intriguing stuff, yet also silly and inconsistent.

Amid the glorious music, the fine period re-creation and burnished photography, the emotionally sound portrayal of artistic endeavor and that award-worthy turn by Berkeley, The Maestro often scores.

Skims a host of provocative surfaces without truly dissecting the self-absorbed playboy.

Involving as the film is, it is decidedly short on propulsion and significant conflict.

The pervasive historical reenactments and voiceovers, however, while clearly well-intended, often turn this otherwise vital film into an uneasy hybrid of authenticity and artifice.