The Lovely Bones -- Film Review
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Atom Egoyan's cleverly constructed film manages the neat feat of containing all ingredients of a potential hit while remaining true to his body of work.
Francois Ozon's latest inquiry into the human predicament, "The Refuge," is a quiet, contemplative movie that delves into the strange journeys love can take.
Few films have so poignantly portrayed a father's relationships with his sons as "The Boys Are Back," a film by Scott Hicks that reminds you he once directed the luminescent "Shine."
"The Good Heart" is a character study but you won't like these characters very much.
"Rabia" is an effectively atmospheric suspense drama by Ecuadorian Sebastian Cordero ("Cronicas") that starts out conveying the day-in-a-life naturalism of a Ken Loach film before venturing into decidedly Hitchcockian territory.
Though its grasp of English history may be a bit fanciful, "Solomon Kane" is a powerful, high-spirited romp through the realms of the increasingly popular fantasy genre.
Director Mika Kaurismaki is back in Toronto with an offbeat, often funny battle of the sexes comedy that is perfectly pleasant to watch.
Eva Green successfully leaves Bond behind as a free-spirited teacher at a British girls boarding school who isn't all she's cracked up to be in the erotically-laced period drama, "Cracked."
The collision of adolescent hormones and parental folly, hardly new cinematic territory, gets a bracing absurdist slant in "Youth in Revolt."
"Phantom Pain" is very much a vehicle for Germany's reigning male star, Til Schweiger, who gets to do it all: show off a perfectly sculpted body, project virile male charisma and display a range of emotions that anticipates the awards season.
With "Whip It," her remarkable debut as a director, Drew Barrymore proves that she is just as perky, quirky and talented behind the camera as in front of it.
It's difficult to believe that the same director who made the simple and affecting "Whale Rider" in 2002 and the underrated "North Country" in 2005, is responsible for "The Vintner's Luck," an overblown work of amazing silliness.
"Triage," director Danis Tanovic's film about an Irish war photographer who's emotionally crippled by his experiences in Kurdistan, takes familiar subject matter and presents it in a largely unremarkable manner.
Designer Tom Ford makes a surprisingly successful leap from the fashion industry to the big screen with "A Single Man," a standout directing debut about a gay college professor who loses his longtime partner.
The first half-hour of "The Invention of Lying," co-directed and co-written by Ricky Gervais and Matthew Robinson, is so sharply fresh, clever and laugh-out-loud hilarious that you can't help but wonder how they'll sustain it for another hour. To be honest, they can't.
"Get Low" coasts along on Southern folkloric whimsy and sly humor for a good while but can't escape the fact that, as backwoods legends go, this one lacks a real payoff.
Much wilder if not more Wildean, this new version of "Dorian Gray" by British director Oliver Parker professes to re-interpret the novel on which it's based, and it surely accomplishes that.
Filmed on the sly in the streets of Iran, "My Tehran for Sale" gives an unauthorized peek at the oppressive Muslim state's underground scene and the muted rebellion of its youth.
"I, Don Giovanni" is lushly photographed and grandly conceived yet this movie about musical genius never comes alive.
Based on a popular fantasy novel by Maurice Gee, this New Zealand entry manages to invoke nearly every genre cliche ever formulated by the lazy mind of man.
Brazilian filmmaker Suzana Amaral's third feature in 23 years, "Hotel Atlantico" follows the seemingly random trek taken by an out-of-work actor through Southern Brazil. But the path to his final destination proves to be much more deliberately mapped out than would first appear in this compelling puzzle of a road movie.
Part musical, part love story, part family melodrama, part inspirational treacle, Tyler Perry's latest movie is something of an unholy mess.
While the octogenarian man of the hour has granted Berman unprecedented access to his life and times, it's the latter that prove to be the real eye-opener here.
Despite its provenance, the film is most likely to inspire comparisons to "I Know What You Did Last Summer" and its sequels, with which it shares the basic plot line of young people trying to cover up a murderous deed, only to find that it comes back to bite them in the ass.
Reminding one of the worst excesses of agitprop theater during the late '60s and '70s, "Leslie, My Name Is Evil" is a strident, awkward piece constructed around the murder trial of Charlie Manson and his "family."
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