Life of Pi is a curious juxtaposition of the mundane and the majestic; a film that strives for something grander than what it perhaps achieves.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

Yes, Fences suffers somewhat from the bare-bones transferal of the “action” from stage to screen but the material is so compelling that viewers can easily lose sight of the movie’s “play nature.”

The movie is at its best when it feels like a Vatican riff on 12 Angry Men, a concept that is enough to keep things flowing smoothly until the frustratingly “Hollywood” events of the final 20 minutes.

This is one of those unusual films that is capable of enthralling those under twelve while not sending older members of the audience rushing for the exit.

Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.

It’s a small gem that deserves to be discovered.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

This mean-spirited and unpleasant production is unlikely to find favor with many either inside or outside of Elvis’ fan base.

Has as much depth as it has energy and action.

The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.

The way Levine has structured Black Bear turns the possible interconnections between the stories into a puzzle for which there is no ironclad solution. That’s part of the fun – speculating what it all means. For those who prefer a more passive experience, Black Bear offers a dollop of frustration but, for those willing to brush aside the web-like strands entwining the first story with the second, it’s an engaging double-feature.

It is a triumph, and one of 1998's few "don't miss" motion pictures.

Kaufman once again reminds us that, without a Jonze or a Gondry to shape and prune the writer’s constructs, we’re destined to become stuck in a frustrating morass of eccentricity and self-indulgence.

This is a movie to be savored by those who are familiar with the work of Glenn Gould, and an opportunity for those who aren't to explore the essence of a rare musical genius. It's an eclectic film, and an astonishing portrait.

The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.

"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.

The film’s characters are as recognizably human as they are oddballs and the narrative arc could be loosely described as a coming-of-age story for a thirtysomething woman who exists in a state of extreme arrested development.

It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]

In essence, Control is a standard order biopic of a tormented artist. What makes the film interesting, if not unique, is the style in which director Anton Corbijn has elected to present it.

Top Gun: Maverick is one of those rare breeds: a sequel that’s better than the original.

Like a rom-com that spends the first half getting the characters together before showing the ugliness that sometimes happens when “happily ever after” becomes impossible, Blackberry depicts the unraveling that occurred at the back end. It’s a fascinating motion picture that gives life to Paul Harvey’s famous phrase: “Now for the rest of the story…”

Gas Food Lodging deals with issues, but its strength lies in the characters that struggle at the heart of the story. Anders has made this film far from the glitz of Hollywood and the money that comes with the limelight. Hopefully, for her next project, she'll be able to maintain the gritty quality which makes her debut such a memorable effort.

It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.

Although Mc Carthy’s style is critical to the movie’s effectiveness, he doesn’t abandon the story in its service. Instead, he crafts a plot that is intriguing and engaging and caps everything off with a satisfying ending.

The Witches feels like a throwaway feature rather than a fully-realized fantasy adventure.

There are also plenty of background sight gags that often go unnoticed on a first viewing.