Marc Mohan

A decent-enough treat for fans of this particular Gallic genre.

Next Goal Wins isn't the most slickly made documentary, and its chronology can be confusing at times. But, despite a bit of salty language, it's an inspiring, never-say-die chronicle for all ages.

The result is a frustrating and disturbing mishmash of vague philosophical noodling, which even the best-chosen cast can't imbue with zip.

This movie about a great woman and a great man ends up merely good.

They also, with brilliant simplicity, point to the possibility of these actions being taken for real.

A rather schizophrenic comedy that gives respected performers Dame Judi Dench and Bob Hoskins a chance to show they don't take themselves too seriously.

The real star of the film is Horton, whose straight-talking ways and supportive circle of friends are a stark contrast to the haughty insults of academia.

Wiig, following the big-screen breakthrough of "Bridesmaids," has dipped her toes into dramatic waters, but for Hader, The Skeleton Twins is a revelation.

Just because others bear blame for what went on doesn't mean they bore none, and while the deal they got was raw, they never lacked the ability to say no.

The real revelation is Lou Ferrigno, in his first non-Hulk-related big-screen role since 2002. OK, so he plays himself.

In addition to providing a fascinating, agenda-free look at an unseen way of life, the film presents a lesson that should be welcome among people of any faith or none at all.

It’s possible the movie’s actually too unflinching; there are moments where your nose is dangerously close to being rubbed in this pile of emotional trauma. Then again, when you come from the same country as the Dardennes brothers, you’ve got to pull out all the stops to compete in the misery department.

With a predictable and borderline manipulative plot, Tsotsi depends on strong performances for its impact, and its cast delivers.

Oswalt sells Auferio's pasty indecision and makes him a more sympathetic figure than he has any right to be.

Whether Waddington's film comes across as hypnotic or boring, mythic or pretentious, may depend on the viewer's mood or tolerance for quasi-allegorical storytelling. But, as the women in House of Sand learn, patience can sometimes be its own reward.

There's visual poetry here, in small doses, but it doesn't take long for one's patience to run out.

Just because it's how they did things in the old country doesn't excuse clinging to these outdated, oppressive traditions, even if Ravi manages to negotiate them with surprising good humor.

Someone should send him (Kerry) a copy, if only to remind the senator of the days when he was willing and able to speak with the courage of his convictions, and when he had a lot less to lose.

Kidder's performance as Danielle is a highlight, creating a childlike woman who is beguilingly naive yet obviously fraught with peril. [22 Sep 2000]

The environment is one of unrelenting cruelty and misanthropy, which certainly brings out the novel's darker themes, but can be something of a slog to watch.

If Song of the Sea had had the promotional muscle of Disney or Dreamworks behind it, it may have won this year's Oscar for Best Animated Feature instead of merely being nominated. It certainly would have deserved it.

Merchants of Doubt is an important film. It's a riveting film, a necessary film, one that every American should see.

It's not without one or two missteps, but remains likely the most impressive juvenile acting you'll see this year.

An informative and frightening documentary.

Aloft reminded me of the work of another Latin American filmmaker, Alejandro González Iñárritu, who made somber, constipated dramas such as "Babel" and "Biutiful" before loosening up and conjuring the lunatic profundity of "Birdman." Llosa has the intelligence and directing chops — Aloft looks fantastic — to do wonders, but she should take a cue from him and warm up by just chilling out.

A good test of a movie like this is whether it would be more or less stimulating to hang out with people you really know for 82 minutes. If Happy Christmas is the time better spent, it might be time to find a new crowd.

The world depicted in Mark Romanek's Never Let Me Go is among the more beautiful dystopias in film history.

One man's befuddlement is another's awe at the ineffability of time, and from either perspective, this is a spectacle not soon forgotten, even if never understood.