RogerEbert.com

Two Pianos is a melodrama, and damned proud to be one.

An existential story that is a less bleak and more scenic version of Samuel Beckett’s Waiting for Godot, a psychological journey about connection, regret, memory, and meaning.

What this Netflix original lacks in narrative originality, it makes up for through a game voice cast, a wonderfully realized world, and a surprisingly dark spin on its story.

Thankfully, some climactic fight scenes, featuring strong action choreography and a clear overall presentation, give “One Spoon of Chocolate” the great emotional release it needs after so much dramatic buildup.

The problem with “Deep Water” is not that it is a bad movie (which it is), but it’s a gratingly familiar one that doesn’t have a single point of interest to call its own. Instead, it prefers to spend two hours rehashing elements that even newbies to shark-based cinema will find devoid of any real inspiration.

Orwell did not intend “Animal Farm” as light entertainment.

You can’t help but wish that this edition of the story was a bit more… groundbreaking.

I found it compelling for its depiction of the mechanics of the current athletic scene and the triumphs and tragedies that occur along the way. It may not leave you cheering in the end, but it will give you something to think about the next time the Olympics come around.

When combined, the diametric halves form a charming diptych whose thematic and emotional profundity make for Miyake’s most accomplished work yet.

In addition to serving up heaping helpings of suspense and action, “Fuze” abounds in twists.