
Kumiko, The Treasure Hunter movie review: Minnesota odd-yssey
Weirdly funny and weirdly sad, one woman’s slo-mo nervous breakdown becomes an exercise in pathos that is unforgettably poignant.

Weirdly funny and weirdly sad, one woman’s slo-mo nervous breakdown becomes an exercise in pathos that is unforgettably poignant.

This is not a nature documentary, though there are some beautiful scenes of wild spaces. This is war journalism, tense and upsetting.

The angry grandeur of its despair over how ordinary people get screwed by the powerful may be uniquely Russian, but it will hit home everywhere.

Slaps an honest emotional sincerity and a dry, almost humorous pragmatism in the face of macho posturing and identity tribalism.

A genuine horror story, sweaty with a palpable ring of truth about the unending fear that accompanies life on the knife edge of financial despair.

Three of the five nominees are about women, and it’s hardly a surprise that their fresh perspective results in stories that are new and original.

A heartbreaking child’s-eye view of the moment when it begins to dawn that the world is going to be unimaginably cruel to a nonconformist.

This isn’t a children’s movie… and yet it kind of is, too, with its odd mishmash of social realism, action thrills, misplaced comedy, and simplistic drama.

Repugnant drama about the tender relationship between a man who pays for sex and the boy he hires. At least Pretty Woman pretended to be a fairy tale.

What is intended to be a suspenseful period drama of paranoia and conspiracy is far too slow-moving and meandering to truly engage.