The Lovely Bones -- Film Review
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"Squalor" is composed of four 20-30 minute segments, all set in the same urban grassroots neighborhood. Characters are linked by six degrees of separation, but each one stands at a crossroads, ultimately getting defeated by social circumstances.
A static, overly long talkfest, "Four of a Kind," is a snail-paced Australian production about four women mysteriously connected by betrayal, murder, extortion and revenge.
Trapped in a movie theater watching "Passengers," a movie about a bickering married couple stuck in traffic, is almost as irritating as experiencing the real thing.
Writer-director Damien Chazelle's distinctive debut feature, "Guy and Madeline on a Park Bench," has the expansive spirit of a big city romance, though it was made for a song.
In "A Little Pond," Lee Saang-woo recounts in a conventional narrative with unswerving power the South Korean equivalent of the My Lai Massacre.
Finally going the big-screen, computer-generated route, the iconic Japanese hero manages to keep his innate lovability intact in a visually dynamic if overly eager-to-please family feature cobbled together with parts reclaimed from various animated classics.
The characters of the charmingly wry comedy "I Am in Trouble!" could pass for the younger selves of Hong Sangsoo's narcissistic and libidinous intellectuals. Yet to new director So Sang-min's credit, he is not a mere Hong wannabe.
"The Executioners" is one of Korea's few prison pictures, and because of its rarity on the cinematic landscape there, it mines all the familiar tropes and characters viewers have been trained to expect from the sub-genre.
A furious labor activist confronts a family on a day-trip in the country, and the torture he inflicts upon them is the basis for an unusually shrill examination of the fragility of the family unit.
Economic unrest and the widening gap between the middle class and everyone else is clearly on the collective national mind, as "Moscow" is one of several films at PIFF 2009 that uses the never-ending worry over monetary instability and job security as a driving plot point.
"Nightmare Elevator" employs the ultra-minimalist set-up of four strangers trapped in an elevator to make a mystery-black comedy that literally takes the audience for a ride.
This is probably Hur Jin-ho's most conventional film to date, but he hasn't sold out or disappointed fans.
Rarely does a film title describe itself so accurately. Hong Kong video artist Rita Hui's feature is indeed deadeningly slow.
One of the pleasures of the movie is how all the apparently disparate elements eventually intersect and meld into a satisfying whole.
"Tears" is a quietly shattering character study of a bad cop with a good conscience, whose punishment becomes redemption for his past crimes.
A Tang Dynasty village is the setting for Yang Shupeng's "The Robbers," a confused and mostly pointless action-comedy-drama about two professional thieves unwittingly coming to the defense of a community being harassed by soldiers.
If you mixed a little bit of "Razorback," a dash of "Black Sheep" and a whole lot of "Jaws" together, the result would look like "Chaw."
Though dozens are made every year, it's not very often that song and dance-free Indian films get any kind of attention outside of India. "Vihir" probably doesn't stand much of a chance of changing that trend.
A man with alimony troubles is at the center of "A Man Who Ate His Cherries," a beautifully shot film that's appealing in its ordinariness.
Themes of class, patriarchy, mortality, evolution, the cosmic scheme and Thai history are all floating beneath the surface of insipid peace in the bourgeois Thai family director Anocha Suwichakornpong depicts in "Mundane History."
Big-haired Disney Channel veteran Corbin Bleu ("High School Musical") makes a failed bid for stardom in this anemic, would-be inspirational vehicle that manages to make even motocross racing seem deadly dull.
A historical conflict between Tajikistan and Uzbekistan provides the basis for "True Noon," a reasonably stirring drama that could take place almost anywhere on the globe right now, what with constantly shifting borders and nation-states reconfiguring themselves.
India's first police officer Kiran Bedi looms large as a dominating if not domineering figure in "Yes Madam, Sir," a doc about her incendiary career in that country.
Siam's "City of Angels" ignites the imagination of four Thai directors in the hip and happening omnibus "Sawasdee Bangkok."
The animated feature "Mai Mai Miracle" unfurls the shared destinies of a country girl living in post-war Japan and a little princess from the Heian period (794-1185 AD).
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