The Lovely Bones -- Film Review
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Italian filmmakers are obsessed about the terrorist movements that flourished in their country in the 1970s and '80s, and Renato De Maria's new film "The Front Line" is part of that trend.
Hannah Rothschild's "The Jazz Baroness" is frustratingly incomplete at times, but it highlights a most intriguing figure.
Michele Placido's "The Great Dream" tells of a love triangle set against the political turmoil and student protests in Italy in the late 1960s.
Filled with boisterous good spirits, Fatih Akim's "Soul Kitchen" tells of a young Greek-German man's attempts to make a success of a funky restaurant despite a series of mishaps.
"My Dog Tulip" is an adult cartoon where the attractions are a droll and very British commentary and stylish animation from the husband-and-wife team of Paul and Sandra Fierlinger.
The title gives away the crude plot in a nutshell. None of this would deter fans of Japanese genre films though, as long as the camp quotient remains high, and effects continue to amaze for their twisted inventiveness.
In the hands of first-time writer-director Derrick Borte, what could have been a biting black comedy taking product placement to the logical extreme instead is so obviously predictable that even a savvy cast led by David Duchovny and Demi Moore can't sell it.
Directed by Roman Paska and written by Paska and the American actor-director, this simple, unpretentious documentary has international television potential.
Natalie Portman impresses mightily in "Love and Other Impossible Pursuits," playing a second wife and grieving first-time mother grappling with the thorny complexity of family dynamics.
While the film marks Jordan's 25-year association with the Toronto International Film Festival, a deliberate pace that's more of a hymn than a shanty likely will limit its commercial future.
"Leaves of Grass" is so outrageous with its ethnic caricatures, hokey plot and twin-brother mix-ups that you know the whole thing is a lark. And that's well before a crazed orthodontist shows up, waving a gun.
"Glorious 39" sends mixed signals. One minute it seems like a conspiracy thriller and the next one of those well-upholstered English melodramas about the privileged class pushing back against threats to their way of life.
"Cloudy With a Chance of Meatballs" might have been better as a short film than a feature. Although the premise is delicious, and some of the visual gags tickle the funnybone, there isn't enough story to sustain a 90-minute movie.
The title is a good indication of this movie's blandness and predictability. "Love Happens" might just as well have been called "Falling in Love" or "Love Affair," but those titles have been used.
Filmmakers Judith Ehrlich and Rick Goldsmith do an astounding job of relating how Daniel Ellsberg brought the Pentagon Papers -- which laid out in plain language how the Pentagon and White House had been lying to the public about Vietnam -- to light.
India tests the resources and determination of a couple bent on adoption in this film by writer-director Claire McCarthy.
Norway weighs in with its version of World War II in "Max Manus," finally getting to honor its own resistance heroes.
Jean-Pierre Jeunet's "Micmacs" is a comic fable about a gang of misfits that takes on the weapons industry and blows their death machines sky high.
An old-age pensioner goes on a wild vigilante-killing spree after an equally elderly friend is killed by a bunch of toughs in a rough, impoverished London neighborhood.
Marc Levin, who is best known for his feature debut, "Slam," is back in Toronto with "Schmatta," an HBO documentary on the rise and fall of the garment district and the fashion industry in New York.
Expertly crafted for maximum impact, the fact-based political thriller "Balibo" throbs with an anger and a passion rarely seen in recent Australian cinema.
Like many of Garcia's films, "Mother and Child" plays very well to adult female audiences. Thanks to a name cast -- his scripts attract major talent -- the film should carve out a niche for itself in specialty venues and on cable television.
European auteur cinema meets police procedural in "My Son, My Son, What Have Ye Done?," a small, offbeat work that looks somewhat hastily put together.
This kind of self-professed homage to Italian neorealism, where the quest for "authenticity" guides every artistic decision and becomes an end in itself, certainly isn't new, but what's different this time around is the no-holds-barred violence that fills the film to bursting.
With "Solitary Man," you're made to wonder: How can a man who once possessed the gift of charm and success throw everything away to wallow in sleaze and deceit?
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