An affectionate but unremarkable biography of lyricist/writer Howard Ashman, who was in large part responsible for Disney's early-'90s renaissance.
The offbeat approach brings a freshness to a genre (the rom-com) that has become static and predictable.
A parable about the redemptive power of love, it's too long and many of its beats have been appropriated from other movies about Southern racism.
There wasn’t much to Hamlet’s Ophelia and there’s not a lot more to this production’s version of her.
Presumably, director Wayne Roberts wants to say something profound but the message is muddled and the means by which it is presented are confused.
Occupies a curious middle ground between philosophical arthouse movie and Easter-themed faith film.
Although the film’s length demands patience, it is a meticulous recreation of an event that represents a history lesson as well as an effectively crafted drama.
During the final half hour, everything compelling about this low-budget thriller collapses in a miasma of idiocy.
By adding cumbersome elements to the narrative, it ultimately detracts from the core human story.
"Destroyer" keeps the tone dark, eschewing anything resembling a traditional crime story and allowing Nicole Kidman's performance to take front stage.