Nikola Grozdanovic

There are moments when the fabrication behind Claire’s arc breaks to reveal a real person, and the filmmaker’s have Aniston to thank for this, because it’s certainly not the bland dialogue or unremarkable events.

As far as the spy genre goes, Pierce Brosnan’s The November Man is more filler than thriller.

The theories in Level Five simultaneously thrive in realms of computer science, ethnography, and cognitive psychology, while the picture remains cloaked by the emotional weight of a historical tragedy that marked an entire nation.

Metro Manila is a horror story in its own unflinching way.

So the story is relentlessly rudimentary and it’s directed in an expected, uncomplicated, formulaic manner.

By the time the curtains draw to a bittersweet close, you’ll walk out feeling rejuvenated, satisfied, well replenished in humor and culture, and already planning your own trip to Italy.

It’s a finely tuned and tenderly detailed love story of two people told on a cosmic scale.

This is advertisement masquerading as a story, pretending to be a movie, but at the very least, it’s for a good cause.

Alive Inside contains a tiny revolution within its message, and will likely end up being one of the most important documentaries of the year.

Tired, lazy, incongruous, shocking and hilarious in all the wrong places, Rage is destined for the graveyard television slot, squeezed between infomercials for mops.

What it lacks in cinematic girth, it makes up for in factual appeal.

The decisions made by the characters of I Am I feel so rushed that everyone’s emotional compass is either utterly broken, ignored, useless, or frustratingly disorienting.

While the performances are the key to the success of Lullaby, it is Levitas’ heartfelt and personal story (his inspiration for writing it came from his own family experience) that provides the necessary tools for these actors to work with.

The Grand Seduction reeks of a pleasantness that makes for a very soothing watch. The lack of character depth and the contrived plot won’t be placing it near any top ten lists, but there are far worse ways to spend two hours in a theatre these days.

Still The Water is at its enchanting best when depicting the mysteries of death and the conflicts of trying to come to terms with it.

Perhaps through time this hallucinatory quasi-dream of a biopic will grow in stature, but as first impressions go, the film loves itself so much it renders itself beautiful, but utterly shallow.

On both technical and thematic levels, the filmmakers have succeeded in using the tools of cinema to carve out an authentic look at troubled youth, and the choices we have to make in order to steer away from the wrong path.

Last Passenger is a good antithesis to the overloaded and cluttered action Hollywood seems to love nowadays. If you're not feeling especially picky on plot or character, you won't go wrong with this compelling and stylish train thriller.

This is one of those mind games that lean too heavily on the mindless to be thoroughly enjoyable, turning sadistic pleasure into harmless boredom.

Perez appears content with representing UFW's past strikes and boycotts like a segment from the History Channel, while having the interviewees—relatives, people who worked closely with Chavez—focus on how much good Chavez has done, rather than how he has impacted them.

It fails to convince, and succeeds only in frustrating.

The acting is as inspired as the screenplay allows, which just isn't enough to add any kind of conviction to the events that transpire on screen.

Carefully balancing stereotypes with tasteful comedy, De Felitta has his three leads and a generally refreshing screenplay to thank for making Rob The Mob a joy to watch.