Clint Worthington

It’s sizzling stuff, especially in the final minutes. But it’s hard not to feel frustrated that it’s truly taken this long to get here, and that its final thought on the matter is an ambivalent shrug.

“Minus Zero” doesn’t quite reach the miraculous highs of its predecessor, but the old boy still has plenty of bite.

What saves “Tiny Fugitives” from the dustbin of post-Apatow mediocrity is the underlying sweetness that cuts, like a glass of Manischewitz, through all the acid.

At a brisk eighty minutes, its charms and gentle manner practically fly by—so much so that it might be surprising when the credits seem to start rolling far sooner than you’d like. But that’s the appeal of a good, assured indie film like this: It’s a calling card for its major talent, one that leaves you, in many ways, wanting more.

Elegance Bratton‘s “By Any Means” sits discomfitingly between exploitation picture and sober-eyed historical race drama, and can’t quite find a clear path to either.

The love triangle movie is nothing new; “The Sun Never Sets,” thankfully, finds new paths to tread.

For much of the film, the cries of Gazan children, or the impassioned pleas of our doctors, sing its message clearly enough.

The original manga established all of these action-fantasy tropes, to be sure, but “The Ribbon Hero” refuses to even highlight what few elements made the Princess Knight so unique in the first place. Instead, it just feels like a pale, frustrating imitator of the magical-girl stories it would go on to inspire.

To be fair, the comedy works—its limitations come when it tries to juggle those jokes with sex and power.

It’s gloopy, gory, and greasy, which is all you might want from a zombie movie. But “Colony” feels like it wants to do more, and comes up short in the bargain.