I’m Not Scared manages to convey a truthful approach to the beginning of the end of childhood.

Beyond any contention is Morgan Spurlock's gift for metabolizing common knowledge into uncommonly entertaining cinema.

It offers a noteworthy reminder of the dangers of historical amnesia. And in so doing, it indirectly raises thought-provoking questions about the intimate, often fraught relationship between the past and present.

It should be noted that the film, directed by Corin Hardy, looks great. From a visual standpoint, The Nun is a success. There is an effective use of framing, color, and light that Hardy executes with polish.

The story itself holds up fairly well though, twenty years later, does come off as thinner than I recalled. [2002 re-release]

Director Edward Zwick has an ace up his sleeve, in addition to all the glorious scenery and pulse-pounding battles, and that’s Ken Watanabe.

Cosmatos, surprisingly, manages to create something resembling a suspenseful atmosphere, all while managing to get Shannon Tweed naked in the first three minutes. Whether you like giant rats or Canadian Playmates, this movie has something for everyone.

The Year Between culminates with a beautifully emotional scene, but the journey to get there is a challenge, much like for those who are suffering from a number of mental health issues. But the performances and the overall message of empathy made it worth it all for me.

The direction is stylish, the soundtrack is excellent, and all the actors are phenomenal. Yet, the screenplay focuses on two of the most self-centered people I have seen in a long time. As such, it is difficult to truly enjoy the movie on the level it wants you to.

I thought director Arnaud Desplechin did just enough here to tell that story without betraying the nature of Mathias’s character, as audiences will see.

Will warm your heart without making you feel guilty about it.

Bambi is not a great film. The film has a few memorably winning sequences which have become part of Disney pantheon. But in between these sequences are fairly dullish stretches of Disney kitsch, with too-cuddly animals in extreme states of too-cute behavior; there’s also a song score which is among Disney’s least interesting.

While informative, I never leaned forward and engaged with the events documented.

The leads are all likable, albeit two-dimensional, and the rompish surreal texture of the film, makes it stylishly hip and humorous, almost like an episode of "The Monkees."

Morris utilizes psychedelic neon colors, bold titles, and a hallucinatory score to emphasize the craziness of her life. He has devilish fun piecing together Joanna’s fractured past. It just feels like, in his search for Truth, he’s lost his way a little this time.

With Manito's raw portrayal of its characters and stripped-down cinematography, the undercurrent of impending tragedy is palpable.

I found myself in a tug-of-war between enjoying Bottle Shock as entertaining fluff, and thinking that there might be a more serious, gritty, complicated story lurking behind the grab-ass soap opera.

Of the underutilized mega cast, Djmon Honsou shines the brightest. His portrayal of Cinque, the leader of the displaced band of African tribesmen, is devastatingly potent.

A heartfelt and incredibly resonant ode to his father's achievement, Mario's film relives the blood, sweat, and tears that went into the making of Melvin's pioneering effort.

House of Cardin is a solid, encyclopedic documentary of one of the greatest designers of our time. He deserves to be celebrated, no question there. But this doc wants to inform rather than reveal, to celebrate rather than investigate. C’est la vie.

While it does deliver some good jolts, it never quite cranks up the terror.

Featuring a mix of fiction and real life, Touch Me Not explores intimacy in an experimental feature film that manages to make sex seem unlikely and tiresome.

A terrific story, years in the making, that clearly stays true to the uncompromising vision of its creators. The results are on the screen.

What’s most surprising in Hotel for Dogs, is Don Cheadle co-starring as Bernie.

The movie doesn’t even try to break new ground–it’s shot entirely on location in familiar Ferrell-McKay territory.

Hey, I'm not saying it's bad. It's kind of entertaining, what I can recall of it after two days. It's, uh, okay. Just okay, though.

It's a damn impressive trick to build a film around narrative frustration and not cause your audience to run out screaming.

W. is the kind of film that demands discussion and only then can we start to decipher what Stone's intentions are towards our President.