Pat Brown

Whatever new technology facilitated its genesis, the film is just another assembly-line reproduction.

The film wastes its charismatic leads in a parade of wacky CG creations whose occasional novelty is drowned out by its incessance.

The film’s unreflective earnestness is haunting in all the wrong ways.

The film could aim with a bit more precision at the price of its characters’ evident comfort.

It’s difficult to imagine a high-concept thriller that coalesces around its one-line conceit less convincingly than Awake.

The film is an uncanny reflection of the jingoism that Hollywood has been wrapping in glossy spectacle and exporting to foreign markets for decades.

The film’s repetitive and lifeless dialogue robs otherwise charismatic performers of distinguishing characteristics.

Artemis Fowl concocts an adventure that requires its privileged hero to go virtually nowhere, physically or emotionally. As if he ordered it on Instacart, conflict is simply dropped off on his front stoop, and all he has to do is throw on some shoes and sunglasses to pick it up.

The film presents its scattershot cop-movie tropes in earnest, as if, like hurricanes, they were natural, unavoidable phenomena.

It suggests that a war’s horrors were the ultimate unassimilable experience of the shadowy depths of the human mind.

The film brings us somewhere where we aren’t, and probably could not be, but nevertheless feels tangibly real.

Writer-director Samuel Theis’s film is a noteworthy repurposing of the coming-of-age social drama.

Vincent Le Port’s grim morality tale depicts a society caught between differing norms of discipline, punishment, and sex.

Leonora Addio is a wrestling with memory and history through a deeply personal, if at times indulgent, lens.