Richard Kuipers

With a twist-packed plot to match its labyrinthine location, Zhang’s fast-paced film motors along nicely as an engaging “Knives Out”-style whodunnit before stumbling a little in the protracted final act.

We’ve been down this road before and we’ll go there again, but The Price We Pay has enough gas in the tank to make the detour worthwhile.

Tongue-in-cheek but never campy, Shin Ultraman is an object lesson in how to reboot a superhero franchise for modern times.

Looking and sounding like it could have been made 20 or 30 years ago, “Ticket” may not contain that much sparkling and sophisticated wit — or indeed many big belly laughs — but delivers sufficient smiles and chuckles to register as an easily enjoyable if unmemorable diversion for audiences seeking simple escapist entertainment.

A talkative Melbourne hit man and his long-suffering marks are engaging company in "The Magician," an Aussie mockumentary cut from the same cloth as 1992 Belgian cult item "Man Bites Dog." Lacking the latter film's graphic violence, this pic opts for straight-on comedy and largely succeeds. [18 July 2005]

While there is no shortage of frontline footage of arrests and protestors clashing with police, most of the running time is dedicated to placing recent events in historical and deeply personal contexts.

This striking feature debut by U.S. filmmaker Jake Wachtel takes viewers on a fascinating and frequently wondrous expedition to a place where science and metaphysics intersect.

[A] penetrating study of toxic patriarchy and female identity.

Donji’s screenplay finds an ideal balance of gentle humor and life-affirming drama.

Opening with a riotous bombardment of sound and image that risks confusing and losing some viewers even as it sends others into rapturous delight, Labyrinth of Cinema then makes sense of the chaos and emerges as a touching plea for peace and an exuberant celebration of the artifice and transformative power of cinema.

A middling horror-thriller and social satire that opens with an intriguing premise but never probes its cashed-up characters deeply enough to create gripping drama from the heightened hedonism or existential crises they experience after acquiring new powers.

"Gensan” lands solid punches for the rights of disabled athletes and excels with its depiction of rigorous training and fierce combat. But we learn very little about the fighter’s life when he’s not wearing gloves.

Revenge is a dish served with considerable style and imagination in Saloum, a fast and furious crime-horror-thriller that twists and turns its way around the mangroves, islets and inlets of Senegal’s Sine-Saloum coastal region.

While it generally lacks dramatic oomph and the story is confusing at times, Yakuza Princess delivers plenty of visual excitement.

Ryoo ramps things up impressively once all hope of protection from local forces evaporates. Audiences are treated to half an hour of top-class car chases and shootouts as the group attempt to make it safely across town and onto a rescue flight.

A story like this can’t help seeming far-fetched at times but the emotional stakes are so high and the plot so pacy and intricately woven that most viewers will gladly suspend disbelief and enjoy a ride packed with hair-raising close calls and narrow escapes.

Gundala packs a few too many characters and side-stories into the mix but as the first entry in a planned series it’ll do very nicely.

Lame humor and incoherent plotting are among the shortcomings of “The Rookies,” an initially engaging but increasingly tedious Chinese action-comedy-thriller that not even kick-ass movie queen Milla Jovovich can breathe much life into.

Talented comedians Jia and Zhang, and a fine support cast carry out these shenanigans with an appealing energy that helps smooth things over when the screenplay occasionally stumbles into clunky plotting, super-corny dialogue and scenes that drag on for too long.

For all its narrative and structural shortcomings, Cheng’s film is always visually arresting and frequently very funny as it switches tone and tack at the drop of a hat.

Told mostly through the eyes of primary school-aged characters, “Farewell” operates firstly as a film that can be deemed as suitable for children, while also offering plenty for adult audiences to read between the lines.

“Odyssey” is packed with stunning sights including a 50-ft., four-armed CGI villain but is let down by a script that fails to fashion promising story elements into a consistently compelling whole.

Midi Z has now delivered a tightly edited and emotionally rewarding drama that places him in the top rank of Asian social realists.

Expertly directed and co-written by respected filmmaker Robert Connolly (“Balibo,” “Paper Planes”), The Dry has all the character intrigue, clever plot twists and red herrings to keep viewers guessing.

This thrill-packed tale about an angry volcano wreaking havoc on thinly written characters at a luxury island resort plays like a souped-up and much better remake of Irwin Allen’s 1980 turkey “When Time Ran Out.”

“Mr. Dundee” is saved from total catastrophe by Hogan’s natural-born appeal.

Featuring excellent performances by Shahab Hosseini (“A Separation,” “The Salesman”) and Niousha Jafarian (“Here and Now”) as a married couple with a baby daughter and a frayed relationship, this predominantly Farsi-language production sneaks up on viewers and delivers a knockout final act.

There’s hardly a surprise along the way but Bautista’s gruff charm and winning chemistry with talented young co-star Chloe Coleman (“Big Little Lies”) do just enough to carry a script by “RED” writers Jon and Erich Hoeber that pokes some good fun at action movie tropes but is hampered by too many groan-worthy gags.