Aside from Hank’s brilliant performance as Fred Rogers, I also liked the style of storytelling. The movie from start to finish feels like an actual Mr. Rogers episode with its simple three-man jazz piano score and its slow, deliberate pace. The overall story is good, sweet, but predictable.

Farhadi fails to provide startles and thrills, relying solely on the dramatic side of things to impress. But even that factor is disastrous as he tiresomely attempts to suggest connections between the past and the present.

Proyas creates a futurescape that's snazzy in a “Blade Runner” lite sort of way and one or two of the film's effects are eye poppers.

Firewall’s predictable second half betrays the film's early promise.

A style-rich, substance-weak B-level gangster movie which is noteworthy for two unusual reasons: it is one of the very few films from Thailand to gain international release and it is the perhaps the only film of its genre to feature a love story between a hit man and a pharmacist.

Watching these old pros elbow their way into the spotlight is the film’s finest surprise, but watching Plowright out-act them all is the ultimate joy.

There were many aspects from a filmmaking and storytelling process that I found admirable, but I just can’t see myself recommending it. I know all too well that my criticisms have everything to do with the very core of J.M. Barrie’s original story and Pan mythology itself.

It has a television movie quality to it as if it’s a dramatization of a newspaper article, rather than something cinematic.

Although the film is handsomely filmed and features a surprisingly frank view of the political machinations within the upper ranks of Tibetan Buddhism – even the Dalai Lama comes across as a bit of a wheeler-dealer – Unmistaken Child is more than a little disappointing.

It’s not a great film, and it does rely a bit too much on the “evil bank” motif, but it might be worth a Saturday afternoon with the kids.

The Lighthouse doesn’t shed anything new on the pressure cooker, psychological drama, but it is a pleasure to see Crow’s talents continuing to evolve from Demon Bridge to now.

The major weakness in Jumper is the piling on of action and narrative in the last ten to twelve minutes. It's as though the editor was rushing to meet a deadline and did the best he could with too much footage.

Part of the problem with Moonage Daydream is that it is trying too hard.

Detective Chinatown 1900 tries to be a high-energy action comedy but gets tangled in a web of subplots, leaving little room for the buddy-cop fun it teases.

Artemis Fowl is not a horrible film, but it had the potential to succeed, yet falls flat in the end.

Works best when it sticks to some of the tenets of successful horror; namely, gore and surprise.

A glacially-paced disease-of-the-week movie blown up to big screen size.

It's noisy, nonsensical, and will fade from your consciousness even before you make it out of the theater lobby, but it's entertaining enough, and Tamahori throws us a few curve balls to keep things interesting.

What's so disappointing is that the film had so much potential as a concept. The story slowly degenerates into a plodding, sappy bore.

The narrative that unfolds in the wake of Spence's journey recalls "Paris" but walks too heavy for a character study to gel.

Beautiful and atmospheric but essentially empty and pointless, Berlin Alexanderplatz hits you with the bluntness of a sledgehammer.

Hoffman's electric performance carries the film beyond its banal pretext and Dennis Leary and Woody Harrelson are a scream in cameos.

It’s a laughably bad, generic, and bloodless PG-13 waste of two hours, and that’s everything I fantasized it wouldn’t end up being.

A creepy, if disjointed exploration of the nature of evil. But compared to its predecessor, it's also a bit of a disappointment.

Basically more of the same, and depending on who you are, that's either an encouraging statement or a warning.

Never quite clicks, primarily because the central male characters are badly miscast.

For a comedy, it isn't that funny. For a thriller, it isn't that thrilling. In short, it would have been a much better movie if focused on either/or.

There are scenes of utter brilliance and honesty, then clunky scenes of melodrama the next.