The Lovely Bones -- Film Review
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A Japanese salaryman, his mentally challenged brother and a call girl form an unconventional menage a trois in "Lost Paradise in Tokyo," which dramatizes the human need for companionship and contradictory desire to escape from society's constraints.
Sabu's film adaptation of leftwing dissident Takiji Kobayashi's 1929 novel makes his point against capitalist exploitation clear, but manages to be experimental, absurdist and hip. Think remake of "Mutiny on the Bounty" using "Dogville" as an aesthetic blueprint.
Korea's fraudulent and cash-obsessed youth are at the heart of this dead serious, ironically titled drama "Our Fantastic 21st Century," about the so-called 880 Generation, referring to the demographic whose average monthly wage hovers at just about that much.
"I Come With the Rain" is a moody, supremely stylistic exercise in sweaty underworld revenge that could have easily teetered over into Orientalism. It never does, thanks largely to director Tran Ahn Hung's restraint and focus on misery and the search for redemption and salvation.
Imagine Napoleon Dynamite 10 years later, with an exponential increase in the geek factor, add a fanny pack, headband and a burning passion for air drumming, and you've got the protagonist of the inane "Adventures of Power."
"Good Hair" -- about the great efforts undertaken by black women (and more than a few men) toward their coiffures -- is entertaining and substantive enough to be interesting even for those completely unfamiliar with weaves and relaxers.
In animated feature "McDull Kung Fu Kindergarten," Hong Kong's most iconic cartoon porker goes to learn martial arts at Wudang, birthplace of Taichi, to prove that pigs can fly-kick at a national championship. Sounds like "Kung Fu Panda"? It's anything but.
Juggling two ostensibly divergent yarns about a Mexican pro-wrestler trapped in the ring and an anonymous Japanese man trapped in a room controlled by phalluses, "Symbol" works itself into a sweat for 93 minutes just for one punch line -- but a pretty wacky one at that.
Lee Yeon-woo's "Running Turtle" sets a flabby, ne'er-do-well cop on a hunt for a ruthless fugitive with invincible fighting skills, in a scenario akin to the turtle's race against the hare in Aesop's fable.
"Good Morning President" is a wildly erratic comedy-drama about politics, ethics, the price paid for public service -- usually a personal one -- and whatever else seems to have struck writer-director Jang Jin as apropos to capital affairs.
As a sympathetic and unflinching portrayal of one woman's struggle to escape emotional self-destruction, director Sebastian Silva's "The Maid" precisely plumbs the depths of human frailty to compassionately reveal the interior life of a troubled character.
"Hadewijch," an unsettling exploration of a young Christian girl's overwhelming faith in God, is one of Bruno Dumont's more balanced works, an intimate psychological portrait pregnantly poised between the heroine's interior reality and what the audience is lead to believe about her.
A fed-up, middle-aged Madrid housewife packs it in one night and leaves home in "Woman Without Piano," a promising plot idea which Spanish director Javier Rebollo develops with controlled style and glancing, almost-not-there humor.
"Scheherazade, Tell Me a Story" is a powerful indictment of misogyny that overturns stereotypes about Egypt through the dramatic stories women recount on a television show.
Young filmmaker Kamla Abu Zekri packs strong feelings into "One-Zero," a multi-character portrait of unhappy relationships set in Cairo.
This account of the complex battle for the treasures of the Barnes Foundation becomes a thriller and a complex morality tale that should appeal to far more than just art aficionados.
In "An American Journey," French photographer and filmmaker Philippe Seclier sets out to document the conditions and characters that led to the creation of Robert Frank's 1959 art book "The Americans."
Provocative and moving documentary focuses on parents of an autistic boy who take a radical course of action.
This year you're not going to get a more exciting or thought-provoking movie filled with memorable characters and dramatic events than "More Than a Game."
While no sweeping romance, the East-West love story "Same Same But Different" is firmly grounded in realism as "The Reader's" David Kross gets another juicy role.
Russian director Aleksandr Sokurov has made brilliant experimental cinema, including the single-take "Russian Ark," but "Reading Book of Blockade" is not one among his greats.
"Lan," the debut by acclaimed Chinese actress Jiang Wenli ("Lost Indulgence," "And the Spring Comes"), is a recollection of growing up under her grandfather's fold during the Cultural Revolution.
Had "Toad's Oil" not been the directorial debut of venerated actor Koji Yakusho ("Shall We Dance?"), would people have time for this ponderous, ham-handed tale of a financial shark's mid-life epiphany?
"How to Fold a Flag" is always fully professional, eminently watchable, well-shot, and beautifully edited, but unfortunately, it covers a subject that is also very well-worn.
Director Charlotte Lim employs abstract and mannered film language in her depiction of a young woman's ambivalent concern and disgust for her mother, who is stuck in an abusive affair.
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