Vue Weekly (Edmonton, Canada) - Rotten Tomatoes

Vue Weekly (Edmonton, Canada)

All reviews published on Vue Weekly (Edmonton, Canada) always count toward the Tomatometer score because it is a Tomato-approved publication.
It's with Dilawar that the film begins and ends, and it's with Dilawar that Alex Gibney's documentary can rest its case%u2014his story speaks with the deepest ache. Dilawar's face stares back%u2014a young, bearded man, his eyes wide in fright.
Posted May 29, 2008
A brilliantly constructed film about a larger-than-life, passionate visionary who shows that simple change isn't just urgent, but blindly obvious and well within reach. All we have to do is take a second-hand look at what we're dumping out our back doors.
Posted May 8, 2008
A film that asks us to have a pretty high tolerance of easy stereotypes and most of its comedy comes because you're not sure what else to do but laugh. When the ironic reversal kicks in, the film turns semi-serious and gets, if anything, a little boring.
Posted May 8, 2008
The story, which should be forbidden, keeps coming back for more. Whenever the plot pops up, from predictable love scenes to the villainess who hates men for no reason to the crypto-Confucian lines, you keep wishing for the next fist to fly.
Posted May 8, 2008
Rarely has a film set the starkest of basic moral questions in such sharp-edged yet subtle relief. . . . like one of the master forger's brazenly passed-off copies--so bold, unflinching and brilliant that, to any eye, it's flawless.
Posted May 8, 2008
Viva (2007)
Normal (2007)
While the acting is often fine, the setting and storylines don't have enough depth to be original. . . . for all its smooth touches and sharp emotions, this Canadian film still [doesn't have] enough big-screen originality.
Posted Apr 11, 2008
If a few scenes are a bit stiff, some of the cast a little too telenovela photogenic, the leads' stubborn, yearning performances build just enough of a melodrama to soften the film's tough realism and earn a hopeful ending.
Posted Apr 11, 2008
The poster tagline for Drillbit Taylor is "You get what you pay for." And who knew recycled waste will cost you $8 at the multiplex these days? . . . Ninth-grade setting, kindergarten male writing.
Posted Mar 27, 2008
The basic power of the plot's rewound revelation isn't there, shrapneled by the form . . . Some films reward multiple viewings, but this film, offering multiple views, falls short of being memorably singular.
Posted Mar 20, 2008
It's a hard film to watch, especially if you know where it goes--I had to brace myself to see it a second time. But it's an important film, one of great feeling. It even works as a thriller.
Posted Mar 20, 2008
An almost madcap comic pace battles with thundercloud-building drama . . . The social commentary can be earnest and bald, with the mythic overtones seemingly contrived to tumble O'Leary into the class gap on his arse.
Posted Mar 20, 2008
The community-produced version of Fats Waller's story leads to a block film party in what may be the most touching ending of Gondry's films.
Posted Mar 1, 2008
Persepolis (2007)
A lot of beautiful animated sequences that could only come to life in movement . . . We've had this incredible wave of films giving us Iran from an insider's point of view--maybe now it's time for the exile's.
Posted Mar 1, 2008
The paintings become colourfully self-deluded distortions of a world where adults project themselves back into childhood, capitalizing on both the adult nostalgia for innocence and our fascination with children who seem somehow adult.
Posted Mar 1, 2008
The film, in the end, as solidly good as it is, rings a bit hollow, feels a little pointlessly bleak. The last sparks of the steel furnace where Robert and Jean-Pierre used to work have faded, and all that's left is for life to grind itself down.
Posted Mar 1, 2008
The Savages (2007)
Most of all about recovering, about picking yourself up, dusting yourself off, and plugging on. It also just happens to be, in its small, astutely observed, delicately bittersweet way, one of the best films of the year.
Posted Feb 8, 2008
The magnificence of Bauby's accomplishment as an author is reflected, shimmering strangely, by a film that awakens a trapped life with the kind of poetry only the camera can write.
Posted Jan 10, 2008
White Mane (1952)
The black-and-white shots are beautiful . . . then there is the closing shot, a fantastic melding of escape and loss.
Posted Dec 15, 2007
A cinematic landmark . . . Lamorisse's film floats off, with the breeze of magic-realism, into a feeling of escape and peace.
Posted Dec 15, 2007
Milarepa (2007)
By-the-book mythmaking: stately, straightforward and not too interesting. The story . . . falls flat on film, a moody, visual medium, tremendously difficult to rework into a mirror for introspective, spiritual transformation.
Posted Dec 15, 2007
Startlingly de-mythologizing at first, then just plain poignant . . . it's fascinating to reconcile Cobain's slacker howl over chipping guitar chords with a sodden Pacific Northwest of logging trucks and fishing boats.
Posted Dec 6, 2007
The energy is electric, the camerawork crisp and colourful, the editing note-perfect. . . . for the Roma, music sounds the notes of a harsh, maligned cultural history, making them all the more unforgettable while demanding remembrance, even awe.
Posted Dec 6, 2007
Drips with a thick, Stygian darkness, but also offers violence that's too explicit and willfully perverse to be thoughtfully disturbing. . . . a little too overwrought, too operatic after its regal predecessor.
Posted Nov 19, 2007
Some real genius and understated power . . . transcends its genre and turns the venally criminal into the profoundly human.
Posted Nov 19, 2007
Suffers from dramatic black holes, but also from creaky dialogue and overly intense camerawork.
Posted Nov 8, 2007
Confuses charm with childishness and romance with the sort of endless yearning in a badly written teen diary. Then there's the misogyny . . . and after the film's family values syrup is tapped out, its WASPy judgmentalism remains.
Posted Nov 5, 2007
Crime Novel (2005)
It's hard to get much juice when it's all quick slice-and-dice in the first half-hour. . . . the moral slipperiness between criminal and politician, thug and cop, just doesn't ooze out here beyond all the blood.
Posted Oct 20, 2007
Red Road (2007)
A strange sort of map of the city [is] spread across these fragmented cubes of visual information. And there's also the metaphorical map of the characters' lives, where they're coming from and where they're going.
Posted Sep 20, 2007
As the story spirals tragically away--all the more powerfully because of Dvir's part in his mother's fate--it avoids the sacrificing-mother-redeemed-by-love cliche and gains a remarkable dramatic weight and urgency.
Posted Sep 20, 2007
Paprika (2006)
Its visual collision of mindscapes, films within films and dreams within dreams cascade into a dizzying rush that easily washes away the humdrum dialogue and somewhat sketchy plot.
Posted Sep 13, 2007
Angel-A (2005)
Angela's Oprah-ish effort to change Andre's lying ways becomes a tedious mix of self-help and pop-philosophizing . . . the film's black-and-white look is two shades more complex than its gender politics.
Posted Sep 11, 2007
Azumi (2003)
What will slay you first--the often histrionic acting or the drag-out boredom of that hulking, two-hour-plus thing in the distance that faintly resembles a plot?
Posted Sep 11, 2007
A haunting autopsy of how the personal can obliterate the political, as the oppressors rationalize, repress and then casually repeat the day-to-day injustices they're paid to commit for a society eager to forget its sins.
Posted Sep 3, 2007
Subtlety is knocked on its ass and put out for the count, though a chilling sense of white self-entitlement and ethical superiority tingles on.
Posted Aug 23, 2007
A remarkably dense and powerful picture of people's yearning and struggling. . . . about how 'things just happen'%u2014that's the sadness and beauty of life.
Posted Aug 20, 2007
Yolngu Boy (2001)
The film rides the teenagers' churning anger, despair and elation throughout. . . . The heartbreaking ending is neither naive about how white culture is destroying a millennia-old way of life nor too hopeful about the power of ancient traditions and belie
Posted Aug 20, 2007
Can't commit to an overview of the movement by looking at three groups or stick with the trial of the "SHAC 7." So an intriguing but too short tour of animal-rights issues is interrupted by a flatly chronicled court case.
Posted Aug 14, 2007
While Becoming Jane is too much of a prologue to the writing Austen, it is an impeccably crafted imagining of a young woman seeking love at a time when women were so often 'better than their circumstances.'
Posted Aug 14, 2007
The pace is brisk, the jokes are sharp, and there are sight-gags and zingers that rank up there with some great cartoon moments.
Posted Aug 6, 2007
Offside (2006)
A film of masks . . . Droll comedy and wry ironies artfully disguise Panahi's poignant questioning of national pride, governing the public good, and even the sadness mixed in with past victories.
Posted Jul 18, 2007
Sicko (2007)
Moore mostly lets the sufferers speak, their stories revealing the deep, oozing wounds of a broken healthcare system. . . . deliver[s] an adrenal shot, a strangely enervating mix of anger, shame and hope.
Posted Jul 2, 2007
Here is magic-realism filtered through an oddball sensibility, chilled in the snowdrifts of Winnipeg and bottled in amber-hued frames of celluloid.
Posted Jul 2, 2007
We're given drama and despair at a distance . . . As Piaf, though, Marion Cotillard is remarkable. . . . but Dahan's work never bridges the bitter and sweet chords.
Posted Jun 25, 2007
Surf's Up (2007)
Best when it maintains the documentary conceit . . . brilliant tones and shades of lighting . . . the board scenes unfurl in the best surfing movie tradition.
Posted Jun 25, 2007
If Ocean's Thirteen often seems as budget-bloated and hollow as a Vegas hotel, it still manages to coast on its surface charms. . . . you may not have hit the jackpot, but you didn't get cleaned out, either.
Posted Jun 14, 2007
Dercourt washes the film in a chillingly remorseless suspense. . . . the story, as taut as a razor-sharp piano string, offers a few sly, subtle sexual knots before the final bloody note is struck.
Posted May 31, 2007
The Italian (2007)
A throwback to neo-realist filmmaking . . . snowballs in emotion until later scenes are stomach-knotting in their tension. The film largely avoids sentiment with its muted score and shadowed close-ups.
Posted May 9, 2007
The Invisible lives down to its name--this is a visually forgettable flick. More subpar than supernatural.
Posted May 9, 2007
Purple Rain (1984)