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Newman handles the emotional drama well and directs one outdoor scene with consummate brilliance.

A significant docu in which the director lets his rich material speak for itself

It's as relevant today as ever.

...as complete a picture as possible in less than two hours. And you don't even have to smell the tear gas.

Laughable

In the comic context of A Gorgeous Bird Like Me, a good deal of the savour is lost simply because this femme comes over as much less fatale than may have been intended.

Lafont's antic embodiment of feminine ferocity cuts cleverly against Truffaut's grim vision of a world that both represses and craves it, and the comedy masks the endless round of victimhood.

Decrepit filmmaking, the likes of which should see at least the director, if not the producers, never hold a similar position again.

Aimless, feckless, and finally bad, an indie made with an absence not only of cash but also vision...

Of little substance.

As much as Tony Leung was made for subtle but heady roles like this, Hidden Blade belongs to Wang Yibo, and so does this review.

Hidden Blade is a film that attempts to shock its audience, drilling home how terrifying and heartbreaking war is. That said...Hidden Blade twists the story too many times that it begins to buckle under itself.

The handsome noir skillfully makes its ideological crash (and inevitably propagandistic bent) part of the confounding atmosphere, shrouding it in smoke, food, mirrors and sake.

Gorgeous and empty.

"Hidden Blade," a stylish, nonlinear exercise in Chinese film noir, is one of those movies where, at first, you're not exactly sure where it's going or what anyone's doing. But, boy, do they look great doing it.

An otherwise atmospheric and moody period piece, Hidden Blade always seems to undercut its strengths and delivers a middling spy film that never quite scratches below the surface.

On a purely aesthetic basis, this is a slick and handsomely made production.

To attempt to follow the plot of Hidden Blade is difficult and, essentially, a fool's errand.

I found the whole "Hidden Blade" rather less satisfying than its component parts. The many characters, myriad plot points and points of view and added complications with the timeline just clutter things up.

However crisp and stylishly executed, the parts don’t quite add up to a satisfying whole.

While it is eminently watchable, it’s a movie that consists of mostly people sitting at tables with fantastic period clothing plotting and scheming, but sometimes barely moving at all.

Visually stylish, well-edited and intelligent spy thriller, but also somewhat dry, tedious and exhausting.

It’s absorbing cinema. And even with its not-so-hidden nationalistic bend, its a beguiling spy thriller with a stylishly sumptuous genre veneer.

Hidden Blade walks the line between art film and commercial extravaganza. The end result is a spectacle movie with a focus on story. Though director Er Cheng gets the tone right, there are some awkward moments. 



Cheng Er seems to have studied Tarantino, Hong Kong and Korean cinema quite thoroughly and the result is a truly exceptional spy thriller that thrives equally on visuals, acting and overall atmosphere. 



Tight close-ups and direct-to- camera confessionals are the order of the day in a film so peppered with sleazy sex, casual violence and endless swearing that it comes perilously close to caricature. Nobody's finest hour.

The plot, concerning the identity of a snuff-movie killer, is a gruesome mixture of sexual sadism and sentimentality, made even less palatable by dialogue of quarter-witted aggression.

Awful -- bad acting, the worst kind of cockney clichés.

The sight of Dyer operating under the delusion he's channelling Al Pacino is grim enough, but the real blame must be laid at the door of director/star/co-writer Cavanah, who seriously underperforms in all three roles.

You wouldn't think a film could actually be both very boring and very offensive. Pimp is that paradox made flesh

For a film that limply purports to lift the lid on the sordid world of Soho sex trafficking this dismal offering is chock full of rank misogyny.

Both breathtakingly crass and unintentionally funny without ever being engaging or entertaining.

With nil insight - into the sex industry or anything else - you might conclude Pimp is a film for men who get their kicks watching Dyer strut around leering at topless women who -- in the parlance of the film -- look like "the basic pleasure model".

It does, however, make you pity the desperate men and women who allow themselves to be degraded on camera for a few quid (the actors in Pimp).

With its excessive levels of casual racism, sexism and homophobia, the film feels like nothing more than a rejected 'Derek and Clive' sketch that's been stripped of eloquence and irony and calibrated instead for cheap, leery laughs.

With its lame script and tiresome gags, you'll forget Singh Is Bliing within seconds of leaving the cinema.

When they announced Singh is Bliing, I was most curious about its peculiar title and kitschy poster. I don't know why they called it that. What I do know is all that glitters is not gold.

Kumar gave a laudably serious, committed performance in August's prominent flop Brothers, but his follow-up looks very much like a reversion to give-'em-what-they-want type.

The alarming number of scenes objectifying, or downright insulting, female characters mark Prabhudheva as a prolific misogynist.

Akshay Kumar's Singh Is Bliing could well be the last word on puerile humour Bollywood tries so hard to excel in often.

This Singh is silly but cute and endearing. Do not miss his starry entry on the beats of a foot-tapping bhangra number, Tung Tung Baje.

Lara [Dutta] is a hoot as she deadpans her lines, showing flair for campy comedy.

Where Singh is Bliing differs from the tried and tested is that the leading lady is not reduced to a simpering mess waiting for her knight in shining armour to rescue her. Prabhudheva's heroine is the one doing the rescuing for much of the film.

At 141 minutes, Singh is Bliing is as overstretched as most Bollywood extravaganzas, but it coasts along on its often wacky humour, its minor characters (Lara Dutta is a hoot) and the chemistry between Jackon and Kumar.

Laughless and boring.

The film's real masterstroke, however, is to cut in clips from the 1920 film Dr. Jekyll And Mr Hyde. This fits not only Cooper's love of vintage horror, but also the film's over-arching narrative...

A fan friendly pastiche of images, sounds and info on one of the most outrageous rock 'n' roll acts ever.

The familiar arc is fueled by a potent theme that drove the persona that made him a millionaire: Good vs. Evil. If only the movie were as potent as that theme.

The story is a familiar one, the vintage clips are great, and if you like Alice Cooper, you'll love it.

This enjoyable ride should appeal to Alice Cooper's original fans, as well as those who came to him via the performers he influenced.

Something like a cinematic Wikipedia entry, Super Duper Alice Cooper re-establishes the already familiar story of the rocker, but never stops long enough at any moment to get any real meaning out of it.

Cooper proves a genial, voluble rock idol, even if he does admit to swapping sex and drugs for golf.

This competent but underwhelming portrait of the 70s/80s rock star sticks to the usual wave-graph structure of a thousand other rock bio-docs ...

An earnestly acted film with a movie-of-the-week vibe, it's watchable but too slow-moving -- and far too predictable -- to be entirely engaging.

The picture contains a few inspired moments of antagonism and redemption, but it's hard to get energized about a feature film that positions Timberlake in a leading role. The movie practically begs for more Bridges.

plays like a familiar checklist

A screenplay that feels written by numbers, but excellent performances make it deserve more attention than this late summer dump

The Open Road is no Grand Prix winner, but it's no six-car pileup either. It's a low-key road movie that doesn't stray far from the very, very beaten path.

Despite its dependable cast, this ponderous road movie remains stuck in the slow lane.

Entirely predictable but surprisingly involving.

You can see where this is going from a mile away. What makes it a pleasant film to watch (and it's out now "On Demand") are the leads.

[The film] has an easygoing charm that should earn it a solid place among the subset of movies about young people who emerge from their small-town cocoons and screw up their courage to take flight for the bright lights of New York City.

The two stars develop an offbeat chemistry, although the screenplay pushes an abundance of cutesy contrivances to muddle the emotional payoff.

A comic drama that's sometimes appealingly gentle but more often frustratingly amorphous.

Just what we need right now: a comedy about a stalker! Thank you, Jake Goldberger, an auteur for our times.

There's gentleness to the effort that's appealing, but it doesn't last long enough.

A romance that almost comes off

The drab interiors and exteriors mirror the dramatically flat odyssey that our heroine embarks on.

You can only dizzyingly conclude that measuring performances is pointless in this wondrous world of artifice, and this revelation comes just in time.

Deluge is pre-code and made outside the studio system (distributed by RKO), which gives the creators a little more freedom to imagine life after the fall in terms a studio would resist.

Paul Fenech has been lobbing comedy grenades for eons. Whether he intended it or not, his latest movie is one of Australia's most brutal satires of lower class suburbia.

Dawes is the film's rough diamond; underneath her vulgar facade, she takes Shazza on a (comparatively) strong emotional arc and, to her credit, somehow manages to engender audience empathy.

The tiresome nature of the comedy wears thin very quickly. It's just the same easy jokes over and over again.

Very faithful, very funny, very crass big-screen version of [the] brilliantly low-brow TV series...as far as a film doing justice to the TV show on which it is based, Housos vs Authority leaves the abomination of Kath & Kimderella for dead.

It's a paean to the virtues of the versatile thong -- ubiquitous footwear, and a handy offensive weapon.

This was one of the poorer Charlie Chan episodes.

[Has] recordings as valuable as the young prodigy's first television appearance. [Full review in Spanish]

The formula is unbeatable.

A fine film for city kids to see.

What makes "Lassie" work is the craftsmanship and thoughtfulness that director Petrie and his creative team bring to the task.

Writer-director Charles Sturridge doesn't mess with the Lassie formula%u2014he provides plenty of dog-porn shots of the collie bounding through scenery in slow motion%u2014but the overqualified cast puts the film over the top.

One of the finest incarnations of the series.....a warm and fuzzy experience

A stubbornly sweet, picturesque children's film ...

In all, pretty good family fare.

For better or worse, "Lassie" is as safe and square as the TV show of yesteryear.

The story may be predictable, ham-fisted and saccharine, but that's why kids (and softhearted parents) will like it.

The plot stays simple and predictable through out the entire movie, but you never mind because it is so life affirming.

If you don't place too many demands on it, Lassie will while away your time pleasantly. But, ultimately this pup is all bark and no bite.

It's somehow reassuring, these days, to see a movie where there's no problem Lassie can't solve.

A remarkably clean, bracing production that does a difficult thing exceptionally well, depicting believably modern young people in a believably old-fashioned plot.

It's enough to not worry about the changes or similarities and let ourselves go like María, the neurotic protagonist, in order to find in [director Antonio] Drove's work the anguish that the book first produced in us. [Full Review in Spanish]

About as far out as exploitation cinema gets, and while too much time is spent on the porno aspects, it's pretty entertaining and there are enough money shots to impress fans

It is hard to determine to whom [director Peter Bogdanovich] has done the greater disservice: to his author, by assuming he could bring him to the screen, or to his inamorata, by assuming he could get her to act.

By Bogdanovich turning the whole story into one that turns on fast-paced comic repartee, he leans the material into Shepherd's strengths.

Bogdanovich's bravura display of directorial style is as insightful as it is thrilling.

The first and perhaps the final question to be asked about Peter Bogdanovich's adaptation of Henry James' novella is just why he chose to embark on it.

Peter Bogdanovich's new film, Daisy Miller, like its title character, is lovely to look at but not quite delightful to know.

... a love story to which Cybill Sherpard and Barry Brown lend an exact and definitive charm. [Full review in Spanish]

Fails to get at James' subtler and deeper inner truths about his cast of characters.

A slender recital, yet more affecting than the entire Merchant-Ivory canon