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"A nifty and unusual animated feature."
4 stars
Jay Seaver says... "When I spent more time around various types of animation fandom, the use of actors for whom voice work was just a sideline was a big issue (and that was before DreamWorks had arrived on the scene!). I recalled those newsgroup rants because I'm not sure from watching "Anomalisa" whether it's an issue that filmmaker Charlie Kaufman overlooked or one he counted on in designing the film's central trick. Whichever the case may be, Kaufman and his co-director Duke Johnson have made an impressive film, possibly a great one if its technique hits one right." (more)
"A pointed documentary with surprisingly broad appeal."
4 stars
Jay Seaver says... "Michael Moore is likely the world's best-known documentary filmmaker, and that is an obvious double-edged sword; while his first new film in years will certainly bring in one group of fans, the very fact that it's from him will have other people threatening boycotts and dismissing anything in it out of hand. Hopefully not too many; because this particular picture should be thought-provoking (and funny) to nearly anybody who buys a ticket, and fairly funny to boot." (more)
"Not a bad watch while waiting for next year."
3 stars
Jay Seaver says... "The professional sports industry churns out a tremendous amount of non-fiction films every year, and the number is probably only going up with the sheer number of cable sports channels with time to fill, especially during the off-season. It's not uncommon for greatness to come out of this factory - the larger-than-life personalities and strong passions can create terrific stories that reflect ideas beyond the games themselves - but more often you get something like "Fastball": Competently-produced and an easy watch for fans, it will probably fill a lot of hours on the MLB Network during the winter but it doesn't transcend its title." (more)
"A sadly familiar situation made a bit more digestible."
4 stars
Jay Seaver says... ""Dub" Lawrence is a disconcertingly cheerful face with which to sell the idea that the militarization of American police forces is out of hand; it's a serious, life-and-death subject to which he has a highly personal connection, and yet he spends much of the movie with a big grin. Maybe the idea of being the center of a movie just tickled him, or maybe he's just glad to get his message heard. Or maybe he figures that the people who need to absorb this lesson are so used to being lectured and browbeaten that they need to be approached with a smile. Maybe that will actually help." (more)

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