Tom Keogh

[A] warmly revealing documentary.

If you’re partial to the Northwest outdoors, co-writer and director Alex Simmons (best known for documentaries) makes the long trip a visual treat, too. Indeed it is time for fresh air.

Despite promising elements of mixed-genre thrills, the film is finally the underwhelming sum of too many plot devices.

Time to Choose tells us all is not lost — yet. But the hour is late.

T-Rex is ultimately about a remarkable (and likable) young person finding her personal power despite pressure from all sides.

Writer-director Jo Sung-hee subtly evokes American Westerns and “X-Files”-like weirdness while dreaming up such pulse-quickening set pieces as a shootout in a fog-filled room.

Pali Road — an engrossing psychological thriller with a trapped damsel’s very sanity on the line — demonstrates how an enigmatic story can unabashedly overflow with disorienting puzzles and perverse twists, all for the sake of blurring the line between reality and illusion.

Though Dough is often in danger of running off the rails with improbable and unnecessary plot twists, it is always essentially entertaining and warm in its observations of hope rekindled through simple relationships.

What rescues “Diaries” and its grimy, cracked-glass look is its firm grip on Stephen’s incremental awareness that he and his misery are not the center of the universe.

As feverish and dark as this first feature by filmmaker Can Evrenol gets, there is a sense that something larger is at stake — an elusive explanation having to do with a recurring dream, twisted destiny and the bond of a promise.

For all its strengths, Krisha can also be self-indulgent and artificial.

Hock handles that perennial sports question — what is the athletic limit of a human? — with interesting sidebars about the brain and physics. Such mysteries mingle with irresistible lore in this satisfying work.

This modest film’s heart is really in the mysteries of small moments.

Anime enthusiasts will enjoy The Boy and the Beast, but so will anyone who appreciates a good fantasy yarn.

It is another sumptuous visual feast from the studio, full of endless images finely detailed and often lavish.

Director Park Hyun-gene skillfully engineers the inevitable triumph of the heart over every kind of human foible, and — why not? — a viewer is temporarily hooked.

Ting, to her credit, is more interested in the battle between heart and head, instinct and obligation, than in what follows. “Already Tomorrow” is about ambivalence, not gratification, and is more interesting for it.

Mustang could easily have been a pure heartbreaker, but it isn’t. It is surprisingly nuanced and even something of an adventure tale about a fight for freedom and identity.

A viewer might expect the film’s widescreen, busy images to fill with revenge-action sequences. But in its own way, Mr. Six is much more about a unique man adjusting an out-of-fashion personal code for a new type of crisis in the shadow of his mortality.

Chalk this film up as an unusually intelligent thriller about that which scares us the most: accepting our accidents of fate.

Rohmer's trademark dialogue...is as poetic in its plainness as ever.

One of the best films seen in many years about the mysterious workings of time and memory.

Abittersweet fable about the raw joys of human revival.

What makes Hit and Runway uniquely fun, however, is the unapologetic extent to which Livingston and Cohen turn it into an index of beloved Woody-isms.

Shaft is a decent popcorn movie and Jackson rises to the responsibility of appearing bigger than life.

The effects never really get ahead of the characters or the script's layered personality.

Few movies this year have been quite so rewarding with their 11th hour epiphanies.

Its own, tough-minded antidote to the grab-the-brass-ring whimsy of its premise.