The film delivers a compelling portrait of the complicated issues involved.

Aftermath's avoidance of Holocaust-film tropes lets the picture address weighty historical and moral issues while fitting into the genre shoes of a small-town thriller.

Although a rather self-congratulatory air intermittently hangs over the film, the accomplishments of the participants and the popularity of motorcycling speak for themselves, without the need for superfluous commentary.

Sweet Dreams delivers a rare uplifting story from a country that has seen more than its share of brutality and heartache.

[A] small-scale but deeply moving documentary.

A mournful testament to a vibrant piece of global film history almost entirely wiped out of existence.

This static, talky effort ultimately doesn’t justify its feature-length running time despite some strong performances and the occasional moving moment.

Although it seldom approaches the inspiration of its plucky premise... Free Birds nevertheless manages to avoid being branded a holiday turkey.

A pleasing walk in the park for all involved, not exactly profound, but appealing to both long term fans of the franchise and accessible to newcomers.

The main problem of Mr. Morgan’s Last Love is a structural one, as it is really two films in one.

The film manages to generate only mild shocks and surprises.

Without a strong thematic throughline, Levy relies on a highly episodic structure, letting the subject matter lead him along, rather than shaping the material into a compelling package.

The arc and uplift of the story might be familiar, but thanks to DaSilva’s magnetism and skillful direction, this is way more than a conventional weeper.

Although formulaic in design and programmed to meet its quota of laughs, the film makes a point of going beyond basic expectations into some legitimate aspects of mature friendships without getting soggy about it.

There is much here of interest to aficionados of the great author as well as to those curious about the complicated relationship between sisters Mariel and the late Margaux.

If only adapter-director Gavin Hood's movie had been tempered with craft and care and wasn't such a blunt instrument, one that seems designed as a delivery system for CGI derring-do instead of the heartbreaker it should be.

Despite its scaldingly hot cast and formidable writer/director combination, The Counselor is simply not a very likable or gratifying film. In fact, it's a bummer.

Some of these gags are hilarious.

Gloria is a work of maturity, depth and emotional insight. There’s not a single false note here.

Any sense of narrative momentum or intellectual focus quickly unravels as the film evolves into an almost wordless symphony of disconnected images, sounds and music. But the nature-heavy montages are mostly beautiful and bizarre enough to excuse the film’s pretentious excesses.

Although director Alan Taylor manages to get things going properly for the final battle in London, the long stretches before that on Asgard and the other branches of Yggdrasil are a drag.

The film will frustrate viewers who insist on knowing which interviewees are recounting real experiences and which are perpetuating fictions hatched by the game's creator, Jeff Hull. But mystery is part of the appeal.

Torn approaches its incendiary topical issues with intelligent modesty.

Handsome and weighty-feeling but less substantial than it seems.

Ultimately, it’s little more than a trifle that’s enlivened by the older Huston’s inevitably referential performance.

Mike Mendez's shamelessly Corman-esque Big Ass Spider! does almost everything just a tiny bit better than it needs to.

American Promise shows the emotional toll that each boy endures, not only from the image that their privileged peers have of minority males but, accordingly, their own lack of confidence.

Less twisted than Natali's last film, Splice, it's sufficiently novel to uphold his reputation as a filmmaker not content telling conventional fanboy stories.