Los Angeles Times

Despite the character’s rocky path to sexual awakening, Herzi navigates toward a hopeful conclusion that doesn’t peddle phony uplift.

The action scenes in Kenji Tanigaki’s The Furious are like nothing else in the multiplex.

I wanted to see more of the old Spielberg, the one who expressed awe in moments of silence rather than relentless motion.

Dosa’s film is a meditation on change — both the kind that we accept with a heavy heart and something more general. Time and Water is a curiously vibrant elegy, teeming with appreciation for the intimate majesty that is all life, generational and geologic.

I laughed 10 times, which makes this “Scary Movie” the best of the bunch — a pallid compliment.

Renoir may be a delicate wisp of a film, but it’s flecked with thoughtful questioning about whether childhood’s sorrows leave permanent scars on us as adults.

Obviousness is this film’s handicap — and the main joke.

Sparse yet gripping, “Backrooms” and its minimalist story accommodate the audience’s own free-ranging imagination.

Power Ballad nods toward a dozen interesting themes, none of which it bothers to explore.

Per usual with movies like this, spelling out the terror (the roots are in hobo codes and religious legend) becomes, regrettably, a shock absorber, not a facilitator. But the scares were middling to begin with because Øvredal — a game but overeager trickster — telegraphs his set pieces as if he were equipped with a flare gun and detour cones. Then again, it might be an attempt to distract us from thinking too hard about all the illogic in Zachary Donohue and T.W. Burgess’ screenplay