Tim Cogshell

My Golden Days is lovely and thoughtful, yet it has elements of a thriller, too.

It’s sweet, just like the original movie. It was faint praise then, and it still is.

Lucky has its moments, but even with good, sometimes exceptional performances, its criminally vile characters are never likable enough to make you laugh at (or forgive) their wickedness.

It takes from American gangster classics ("White Heat" and both "Scarface" films come to mind) but its unique setting and underlying themes give it distinction.

Bloodworth is a true southern gothic. There is nary a smile nor chuckle to be had throughout and ultimately things end badly. The density of the drama will draw some audiences and repel others, and those who come may find it all a bit too dramatic for plausibility.

All of this is silly, none of it is funny and it's not long before the whole film stops making sense altogether.

This is a quirky, imaginative and outrageously funny little movie that will speak to more of us than any of us would like to admit - even if we aren't sporks, persay.

Much of the film is taken up with Wexler's musings about his own mortality and physical, shall we say, decomposition.

It's a movie about a life, and life can be kinda funny and kinda poignant, even when it's full of ordinary things, like age, sickness and loss.

It's pithy and funny in that continuous smile kind of way that you don't notice until you're half way through it.

The twists and turns in The Double Hour are not arbitrary; rather, they are well considered and effective, right down to the last frame.

Parents will want to stay for this one.

The film is at once clever, poignant and timely.

The dark is not threatening, and metaphorical darkness is even less so; as a result this movie is not particularly scary.

This is a wholly accessible story that most filmgoers will find pithy and generally well done.

Cool It resonates, and gives one pause not just to consider the merits of the global warming question, but to consider the merits of all that we've decided to do about it, impending doom notwithstanding.

This movie is often hysterical, and sometime very sweet.

Great as it is, this is not a ticket buying kind of movie.

If this film is nothing else (and it may be nothing else) it's funny and (ironically) fundamentally true. What certainly isn't true is what it purports to be, which is a legitimate course of study that analyzes the historic, international, socio-cultural, economic and psychological relationships between individuals, governments and corporations through the prism of physics and what has been loosely called metaphysics.

The juxtaposition of the tragedy and the lunacy of the circumstances are not completely disparate; satire is an appropriate weapon here, but it's the drama in Peepi Live that truly resonates.

The result is a rather revealing film, not only about Sara and the choices she's made, but about the industry itself, with its contrasting pleasures and pressures.

Along the way Göran and Sven suffer the standard indignities of a Gay couple in an idyllic Swedish neighborhood. Which, as it turns out, are all the same indignities a Gay couple suffers living in an idyllic American neighborhood.

The central notion in After the Cup is not the obvious; we can all live and work together to our greater achievement no matter where we are from or who we are. Rather, the question here is-will we-even when we lose the football game? It's a much smarter and more interesting question.

In any case, The Girl Who Played with Fire works well as a stand-alone feature, though it's more fun if you've seen the first film.

Everything about this film is fairly offensive, including its racial stereotypes, homophobia, misogyny, generally bad writing and amateur filmmaking.