Liam Lacey

The exiled Tibetans who are interviewed display a lack of bitterness, a sympathy for their enemies and hope for the future that is inspiring.

What makes Crude worthy of the overused term “epic” is the way the case symbolizes a host of contemporary issues: the iron-fistedness of multinational corporations; environmental despoliation; the disappearance of indigenous cultures; and the power of celebrity and the media to influence justice.

Morlando's approach, influenced by interviews with the real Boyd in his old age, is cerebral and melancholic. The tone is more foreboding than suspenseful.

Thematic issues aside, Eastwood is noted for a high level of economic craft and The Mule is no exception.

Eventually, Toy Story 3 finds its way back to that theme of the power of childhood play. There are a few worrisome moments en route, though, when not only the characters but the filmmakers seem to have lost their way.

Not surprisingly, it's a cinematic mash note, but apparently a deserved one.

The movie is unexpectedly disciplined and enjoyable.

This is a remarkably good-looking near-corpse of a film, with a pulse that fades in and out.

Freed from the tiresome constraints of plot and character, Rumble in the Bronx is the distilled essence of action entertainment. [27 Feb 1996, p.D1]

For the old fans, there are a few splashes of Moore’s caustic levity.

Ultimately, the movie is not, to paraphrase the U.S. Army slogan, all that it could be. The climax is uninvolving generic eye candy, and the sequel-friendly coda is unconvincing.

As a film about intellectuals, The Barbarian Invasions can sometimes seem maddeningly scattered and contradictory.

This is B-movie material all the way, yet it's not only watchable, it's engrossing. That's because the material is in the hands of an A-talent director, who knows, as few of his contemporaries do, how to manipulate the plastic qualities of a film: the lighting, editing, composition, camera movement and production values.

While the gangster genre over the past 50 years has been the specialty of Italian-American auteurs (Coppola, Scorsese, DePalma and The Sopranos’ David Chase), Mafia Inc., directed by Quebec director Daniel Grou (a.k.a. Podz), stands up surprisingly well.

This intimate portrait of the so-called godmother of punk is aimed at viewers who are keenly fascinated by Smith.

Something of an intriguing curio (the first feature film about a subject treated in song, poem, television and theatre), Lizzie has some memorable pluses and significant minuses.

Though its level of execution is consistently high, Rango is a non-pandering comedy that takes its message of western individualism seriously: It's here for you and your children to enjoy – or not – as you please.

The film loses momentum as it settles into movie-of-the-week familiarity, detailing the activities of the Jane collective, some of which seem hardly credible, though historically accurate.

Though something less than a masterpiece, The Illusionist is a rare animated film of fleeting charms rather than loud noises, aimed more at wistful adults than thrill-hungry kids.

Roth, in restricting himself to the polite requirements of a kid-friendly movie, keeps his darker instincts in check, making this more a movie about set design than emotions.

On the positive side, it's still four back-to-back Simpsons episodes, which is still better than most of what either television or the movies have to offer.

Within the frame of an old-fashioned stab-and-splatter exploitation flick, The Hunt is consistently smartish.

Abramovic is a sensationally attractive narcissist and the filmmakers are clearly smitten with her, but the film goes a long way to establish the intellectual seriousness and dedication involved in her ambitious series of art stunts.

The narrative arc of Islands, so minimalist it’s really more of a slow bump, is about the gradual breaking down of Joshua’s small shell of comfort, his family and cultural conventions.

The Runaways captures the sleaze and innocence of the era and has some still-relevant things to say about the conflict between girl-rocker empowerment and exploitation.

Sure, it's a bit mechanical, but what did you expect? The important thing is that the characters and jokes don't prevent you from grooving on the pleasures of the moving parts.

While the story, shorn of its supernatural elements, is mired in abuse and tragedy, its effect is sensual and superficial.

Kimberly Reed’s debut documentary, Prodigal Sons, would make a terribly contrived novel, but is a compelling and sensational real-life story.