Marrit Ingman

The story is simple and true-to-life, and the technique is naturalistic, using nonprofessional actors, photography that emphasizes the characters' environment, and deliberate narrative pacing that mimics real-time events.

It is really gory, for the record -– though it's too silly and insufficiently twisted to slake the appetite of the hardcore gorehound, it's not something to take a kid to.

Bizarre, even darkly comic at times. But it's also elegant and mannered.

The combination of high animé style and old-school heart gives the film a broad enough appeal to merit a wide release. Not that it isn't quirky.

More than worthy viewing. What it lacks at times in elegance it possesses in intensity and feeling.

Beneath its layers of epic detail, this Zatôichi is cinematic cotton candy.

Bluegrass fans should have few complaints about this stellar concert film.

The movie doesn’t stand in judgment of its characters, which will probably disappoint audiences who think it ought to, but its breezy tone and ultimately affirming message should please comedy fans with an appreciation for the offbeat.

Not in recent memory has a movie so short – 90 minutes on the nose – been so stagnant and stubbornly slow to build. And that's exactly the point.

There's also a little something smarmy about the interactions between the lawyers and their clients, all of whom are poor.

One need not necessarily appreciate Darger's art to enjoy Yu's sympathetic, intimate, and often breathtaking journey into the workings of his mind.

When the special effects aren’t getting in the way, the kids’ imaginary scenes have a hazy, shimmering quality, as if the potential of a long afternoon with no homework could be measured in waves.

It's a good bet for youth audiences (the PG-13 rating is for one instance of language) and finds plenty of thought-provoking subject matter courtside.

A sterling example of what Hollywood can accomplish when it puts its trust into an offbeat project whose creative team has a different perspective on American life.

The elliptical narrative also recalls Fernando Meirelles' somewhat similarly themed "The Constant Gardener," a film ultimately more heartfelt and accessible to mainstream audiences because its maker is unafraid of grief and explores it more deeply.

Monster is, at its best, simply a chronicle of people trying to get along, which makes it compelling viewing indeed.

This is not a conventional love story but a philosophical one.

The movie doesn't quite add up beyond its performances.

A paradox, balancing the contradictions and ambiguities of its characters and setting with a careful hand that rarely falters, even though the film seems dramatically thin at times.

Never really quite great, it's still a good enough diversion for the family and should please adult fans of racing.

The film is a wonderful choice for older teens and has considerable crossover appeal for adult audiences.

The film is sufficiently methodical and well-researched to walk the walk behind its controversial premise. More to the point, it's terribly involving, intriguing enough to hook documentary-shy viewers.

More factual rigor wouldn't hurt, but directors Quinn and Walker delve instead into the lives of their subjects with a fly-on-the-wall candor, revealing as much about American life as they do of African life.

It sounds high-minded, but 3-Iron is in fact simple and economical, blessedly straighforward, absorbing, and hard to forget.

It is a rewarding tale for public educators, parents, and kids with big dreams.

Though the story is thinly conceived, Antal throws a fantastic curveball in the second act. Kontroll is a hot ticket.

It is wonderful for what it is: a delightful, thoroughly satisfying comedy of modern manners.

Abundant arthouse crowd appeal.