It’s a film my kids still enjoy, although it’s a bit lightweight as Miyazaki’s works go.

An honest look at the experience of a family who lives a yearlong tropical movie adventure on a remote island in Fiji.

Hell On The Border tells a unique western-style story.

After a solid hour and a half, the climax almost seems to have come from a different movie. Collateral is still a hell of a ride, but could've used a smoother landing.

Easily the most unique film in the trilogy, and in many ways the most fun.

Light-hearted and enjoyable film that will have you exiting the theater with a smile.

Hilarious and a must-see.

The movie is a shared experience between a mother and daughter that could tread into the undeniably cheesy or depressing territory but has a tattered joy to it. It’s a low-budget slice of life, which we don’t see too many of these days.

The original films left kids with a sense of wonder, and while it does not entirely stack up to the original trilogy, this will still leave plenty of kids dreaming of slick gadgets and cool spy chases.

The ultimate rarity: a sequel that is miles ahead of its predecessor in every imaginable department.

In other hands with another cast, You Kill Me might easily have proven just another modest production indulging in mob violence and postmodern irony. There certainly is no shortage of those. Dahl’s latest, however, is something more than a modest production. It’s a small wonder.

So think of it this way: Miracle at St. Anna is a Spike Lee joint that possesses a European texture in the vein of Guillermo Del Toro and Jean Pierre-Jeunet. Imaginative, thought-provoking, and intense.

The film is an exquisite journey, wonderfully acted, sublimely shot, and thoughtfully conceived.

Here’s something you haven’t seen before, masquerading as something you have 1,000 times. It may be a one-trick pony, but it’s well worth the ride when the pony is this unhinged.

A remarkable triumph of documentary filmmaking. It is impossible to walk away from this film without being jolted.

With its emphasis on dialogue and political machinations over explosions and kung fu fighting, it remains to be see whether or not V for Vendetta will actually find one (a wider audience).

An unusual tale about an often over-glorified era from our past, The Scoundrel's Wife exposes wartime America's sordid small town underbelly in a captivating, even entertaining manner.

Forest Whitaker is the perfect guy to play Parker, Diane Venora is hotly sympathetic to Parker's genius as his last wife Chan, and Eastwood's intentions are pure and golden, but Bird is a solid base hit on a hanging curve ball that should have been knocked well out of the Park. It's a powerful Heroin parable, but it could have been so much more.

For Western audiences, Back to the Wharf is an engaging glimpse of daily life at the intersection of Chinese family culture and government corruption.

Bell is as hilarious as ever. But she also emotes great empathy. Those smiles and tears are genuine. Fittingly, she’s given all of us going through the same thing what we have been looking for: a step in the right direction.

If the fascinating, if disconcerting Our Brand Is Crisis teaches us one thing, it's that consultants, handlers, lawyers, and middlemen can always find a job.

For my money, the movie should have given us more of Macy the magical loser and less of Macy the stud muffin.

Dermer maintains a bittersweet tone, a gentle mix of levity and pathos. He studies the complexities of friendships, dealing with loss, looking at life as if for the first time, living each day as if it were your last, letting go, and trusting people more. He poses some intriguing questions.

Where Tarantino is bold, the main shortcoming here is that Montiel plays it safe.

This movie is metaphysical fun, and while some elements are predictable, it’s an engaging mystery.

The film is truly gorgeous and interesting for fans of literature.

There’s a lot of emotional and intellectual material that writer/director Josephine Mackerras grapples with in Alice, and she is quite successful in doing so.

Overall, it's good, not great.

Over all, though, the picture fires on all pistons. The globetrotting's a good time-I can't think of another spy film that's featured as delightful an assortment of seamy international undersides.

Smart, complex, and engrossing idea-driven action thriller.

The action is dumb, the plot is weak, and the story is pitiful. Venom is a bad movie, yet surprisingly I still loved the hell out of it.

In the wake of unimaginable devastation, Asog gently yet boldly celebrates resilience—not just through the intimate journey of Jaya and Arnel but also through the countless survivors bravely rebuilding their lives from ruin.

Maya Erskine is hilarious, which is no surprise, given how funny she is on Hulu’s Pen15.

Yes, stories like this have been told before, but there’s an earnest, sweet charm to it all that really works.

Affleck is dead on as the hapless Jim but the film is nearly stolen from him by Mark Boone Jr. who plays Jim's drug induced Uncle Evil. Kevin Corrigan is also great as Jim's brother Tim.

It may not be perfectly executed, or original in its approach, or particularly memorable, but McGuire’s poignant film possesses an arguably more important trait: it’s totally honest, wearing its heart on its thick parka sleeve.

Spare and laconic almost to a fault, the film nevertheless haunts with its indelible imagery and enigmatic vibes.

"To elevate, to celebrate, to inspire,” another character states about the function of art. Rana and Warin’s film may not be perfect, but it does all three of those things rather effectively.

A poignant reminder of why people used to actually listen to their radios.

The acting is unquestionably strong, the songs are integrated appropriately (functioning as both audio bridges and dramatic enhancements), and yet something is missing in how the individual pieces of the film--the story, the themes, and the violence--fit together.

With Simone, Niccol makes what seems like a preposterous idea not only fresh and entertaining, but most of all reveals said idea to be not at all far removed from reality--as any good satire should.

Sissy ultimately doesn’t break any new genre ground, but Barlow and Senes embrace these tropes rather than try to avoid them.

It’s an exhilarating experience, and raises the bar for the use of digital technology in film.

Does it lose focus from time to time? Sure, and its cumulative effect suffers because of it, but Drljača nails the little moments that matter.

Overall, The Notebook is a surprisingly good film that manages to succeed where many other "chick flick" like romances fail.

Director Mike Bencivenga takes what could so easily have been a trite, cliche-riddled melodrama and instead, somehow turns it into...well, a wry and moving melodrama.

The most intriguing aspect of Chef Flynn is its honesty.

First Snow is an interesting and entertaining film. It's suspenseful and kind of scary.

Sicko Is flawed and occasionally stretches to make its point, but the movie's message speaks for itself.

Well-executed and thoughtful, it is a solid film that is culturally relevant and enjoyable to watch.

There’s nothing spectacular about any of this, but it’s heartfelt and well done.

The Europeans expects you to meet it halfway. When you do, you’re rewarded with a story that’s rich with complicated emotions, despite its self-confident exterior. It’s like its characters in that way, and also in the way, it thinks highly of itself and presents itself accordingly. Modesty never did a movie good.

It works as a powerful mediation on the optimism lost for a peacefully cosmopolitan Lebanon.

Although there are a few other flaws in the film (flaws that will not be mentioned since it would give away major plot points) and the lack of character development is a major oversight by the filmmakers, Return to Paradise still manages to grip you until the fateful ending, an ending that is very powerful and must be witnessed to be believed.

Despite pacing issues, the film is a good look at imperialism and the mind of “the white Rajah.” The beautiful locations give the film an ambiance of mystery and adventure.

Clearly a deeply personal project for the director, it radiates utmost sincerity, rendering the more baroque parts palatable, if not as affecting as they were clearly intended to be. Within 90 despondent minutes, Dante encapsulates a plethora of themes and ideas, and that by itself merits plaudits.

Yogi brings us close to Masao’s personal tragedy while at the same time pulling back to see life and death at a cosmic level. The movie delves into the cycle of life and death enough so that that audience members can understand and accept the beauty of the process.

Honk for Jesus, Save Your Soul is a wicked read of religion and a showcase of comic talent.

Relies heavily on strong performances from Brühl and Sass to make the illusion believable.

Producer/director Robert Aldrich acknowledged the two performers’ “monstrous” potential – and by unleashing them face-to-face, he became a ringmaster.

Cegavske's film is a meld of surreal imagery, and a morbid somewhat horrific story that art lovers will enjoy. Horror fans need apply.

Honestly, the most shocking thing put forth in Harold and Kumar Escape from Guantanamo Bay just might be the proposition that George W. Bush is actually a pretty cool guy.

Trekkies doesn't quite take us to the final frontier, however, it is the best documentary on the subject and a good laugh.

When The Namesake ends, one feels as though one has lived with the characters instead of just watching them.

Call it old-fashioned or old Hollywood fluff, Holiday Inn is a sweet, pleasant slice of another time in pop entertainment.

In showing such a diversity of perspective, Sementara successfully captures a moment of transition for the country of Singapore.

It empowers Chinese citizens while also shining a light on the exploitation and oppression they face in the workplace and job market.

White and The Edge appear guarded, and perhaps a bit intimidated, by Page’s Yoda-like status.

Any embedded message ultimately pales in importance to moving and understated story of love.

A beautiful looking kinetic film that’s always in movement. It’s a bit slow at times and the plot has a tendency to meander, but other than that it’s hard to find fault.

A perfectly serviceable action movie…better than most, in fact. The entire premise is growing creaky, however, leading us to think we might want to leave this particular spy out in the cold a while, before he becomes completely tiresome.

Once again, though -- almost in spite of Haynes' rigorous post-ironic efforts to bring Sirk back from the dead in any and every way he can -- it ultimately comes down to Moore -- and Moore is simply...wonderful.

One of the basic tenets of film-making is to show, not tell. You Burn Me wanders outside that guideline by making a show of telling, which is as interestingly meta as Piñeiro’s approach of juxtaposing the interaction of Sappho and Britomartis onto a modern-day tableau.

Under The Stadium Lights stands out because of its two veteran actors in Milo Gibson and Laurence Fishburne.

All in all, this is an accessible art house horror film whose trailer and premise do not do justice to the end result.

Mehta skillfully navigates both the tender sequences and the more devastating ones. Aided by Howard Shore's rousing musical score, she portrays a beautiful country ripped apart by social violence. Her film serves as an ode to those who either died or were forced into exile for having the courage to express their true identities.

Over all though, this is a first rate caper piece elevated by Caine’s effortlessly elegant portrayal. The movie is wall to wall with pompous, sexist, greedy backstabbers and it’s a hoot to watch Hobbs mop the floor with the lot of them.

The film is most remarkable when it exposes the ease with which the press and a self-obsessed judge can pervert the country's justice system.

Upheaval: The Journey of Menachem Begin does not solve Begin’s paradoxes, but it does a very good job presenting them.

The greatest pleasure the movie has to offer is a chance to watch Spencer perform completely unhinged and relish every moment doing so.

The Seer and the Unseen has more to offer by showing us the kind and gentle landscape and people of Iceland. It’s best to take the movie for what it is at face value. If you’re the type of person, who just wants to mock an old lady, then you best move on to a different film.

It doesn’t surpass the original, but neither does it disgrace its lineage.

Not a film that will change your life. It instead proves that shooting your movie with cheap technology doesn't mean it can't be fun or entertaining. In the end, that's enough.

What sets Bier's film apart from similar fare are the consistently fine performances and powerful scenes of surprising ferocity.

Unlikely but winning farce.

To complain about the lack of originality is to ignore the real wit and joy behind this very fun film.

Quite honestly, if this had been a more violent film, it wouldn’t have been nearly as much fun.

Monday succeeds in large part to Sebastian Stan and Denise Gough’s performances.

The film is an intersection between Fatal Attraction and Back to the Future, and if that sounds intriguing, you’re in for a treat.

None of the characters feel real, necessarily, but they’re all immensely watchable in their own right.

Empire Waist delivers a heartfelt and empowering message about adolescence, body image, and self-acceptance. Its sincerity and positivity make it a refreshing and modern tale for teens.

The real tragedy is that all of the characters in Holler seem incomplete.

Beyond The Night is a solid film with a solid story, good acting, and beautifully shot.

Director Daniel Barnz produces an enjoyable film that reminds us that imagination is a precious commodity which adults need to nurture by allowing kids to jump.

Samantha Buck, Marie Schlingmann bring a light touch and a wonderful comedic tone to a story of one hell of a woman. This is a lighthearted comedy about resourceful females far ahead of their time.

The film is described as “docufiction,” meant to present an authentic sketch of working-class Australian life. While we are not always seeing the real events, we are getting the concentrated essence.

Not only documents a fascinating part of American history, but also leaves us wondering how (and if) this era's youth will manage to find a voice of their own.

It's a touching story of father and son type male bonding -- male bonding with Nick Nolte no less -- that's bound to find some audience members blubbering by film's end.