If you liked “Frozen” but wish it had been angrier, The Huntsman: Winter’s War is for you.

A diminutive and misleading title for such an affecting, often profound film.

Only fitfully entertaining or illuminating.

I suppose the fact that I was affected as I was by Wedding Doll is testimony to its emotional effectiveness. But while Hagit is able to crack a smile at the movie’s end, I feel a pall wrapping around me every time I contemplate her predicament, or the predicament of her real-life models.

The premise of My Big Night is fine, but the film's execution is what really sells it.

The movie's conclusion is: of course, fashion is Art, or at least that's what we're apparently expected to garner from the montage of intricately, ornately designed pieces from famous designers of the contemporary and modern eras.

Casting goes a long way with this project, to fill some of the gaps of charisma the story itself lacks.

Watson and Bruhl give it their best, and Nyqvist makes a powerful villain, but Colonia winds up being a movie that wants to get its way on too many levels, and winds up not satisfying on most of them.

The Measure of a Man may be a hard film to watch at times, but with Lindon's great performance at its center, it is one from which you cannot look away.

Rio, I Love You feels like little more than an extended tourism promotion video.

You have to take the bad with the good here: Green Room may be too schematic to fully capture the essence of its characters' groddy milieu, but it's also economically paced, and gorgeous.

John Carney has a humorous and loving eye for detail, an intuitive ear for dialogue, and the film is extremely personal in a way that is universal.

Criminal is the kind of dunderheaded enterprise that leaves viewers reeling from the idiocies they have just endured, wondering how something like that could possibly get made in the first place.

Barbershop: The Next Cut belongs, as the entire series does, to Cedric the Entertainer.

Talking with the residents of these different worlds, and contrasting their different lives, is where the film’s heart and greatest insights reside.

If truth in advertising applied to movies, they would have titled this one "Reheated Cultural Leftovers."

In every way, this quietly majestic film should be considered a triumph.

Boonyawatana provides a confident and distinctive vision of his own in this, his debut feature. While his spiraling from one genre to another may produce a final lack of coherence, it’s a nervy, purposeful strategy that keeps clichés at bay while engaging viewer interest throughout.

The whole cast (which also includes Oliver Platt as a simpatico family solicitor) sinks its teeth into the material, which is reasonably meaty.

While Watts is reliably vulnerable, it’s Judah Lewis as her son Chris who does the heavier emotional lifting.

A dinner-party-from-hell scenario best served as unspoiled as possible. After all, a psychological thriller built upon slow-simmering tension is only as good as its surprises.

Just watch 11 Minutes like you're channel-surfing, only you don't have the remote and the roar of static between stations is steadily growing louder as the channels switch back-and-forth, faster and faster.

The latest example of what I call an emperor’s-new-clothes film is Neon Bull.

Sometimes its meandering approach can feel a bit more detached than in Trier’s best work, but this is ultimately a delicate, complex film that lingers, unpacking itself in your mind. You remember it in the same kind of fragmented images that haunt its characters.

Simply falls short.

If his work still shocks, it stirs the soul, for he was a classicist reaching for the perfect form.

The film does an excellent job of letting us inside Lakshmi's physical and emotional experience.

Strategy combats chaos, strategy focuses people on one goal, and with strategy, winning is actually possible. That's what The Dark Horse is all about.