Gregory Ellwood

Is the story increasingly messy as it goes on? A little bit, sure. Does it maybe take a bit too long to get to all the fantastical magic stuff? Again, sure. But the voice actors are absolutely euphoric and perfectly cast, and there are multiple scenes where the animation is so inspired, so creative, and spellbinding, you sort of can’t believe it. And, more importantly, you hope Crawford and Mercado get to make something completely original, on this scale, again and again and again.

Despite all these intriguing elements, the movie takes a turn in the final act that is simply jaw-dropping in how misguided it is. A melodramatic twist that almost throws the goodwill the film has cultivated until then out the window of Leo’s apartment.

Yeoh, a legendary action star in her own right, isn’t doing high kicks or punches to get Eliza out of this jam, but she’s more than skilled enough to convince you this scenario is plausible in the real world. She’s always been masterful at quiet intimidation, which suits Eliza to a tee.

Wilson’s haphazard approach to the narrative and staging of dramatic scenes is hard to ignore. ... The result is a movie that feels dumbed down to the lowest common denominator in a manner that “The Deb” did not.

What elevates “Trash Mountain” from these familiar narratives, when it grabs your attention, is the script itself. Refreshing may be overstating it, but Hearon and Caster fashion smart, realistic, and at least giggle-inducing dialogue in a manner that genuinely pops.

It’s a swing. It’s a big swing, and there’s Wood, but it’s simply not enough.

Madden, Linney, and Ifans do everything in their power to try and win you over. And depending on your willingness to go along for the ride, it just might.

At worst, The Liberation is a superb actor’s showcase.

For an opening feature calling card, Magazine is a pretty intriguing starting point.

The end result simply disappoints.