Bel Canto

Bel Canto’s bland theatrics and irritatingly operatic denouement (that wouldn’t look out of place in a telenovela) are a tragic waste of an impressive international cast that also includes Sebastian Koch, Ryo Kase and Christopher Lambert.

The film benefits from the fine cast and from many sharp and poignant moments. It's an impressive achievement technically as well.

Moore, like an upmarket version of Lina Lamont, in "Singin' in the Rain," lip-synchs convincingly to the sound of Renée Fleming. But not quite convincingly enough.

Though Moore and Watanabe are the main focus, Bel Canto delivers the emotional payoff of a well-developed ensemble film.

The film empathetically shows its characters' humanity and the unlikely relationships that develop between captor and captive, as political, linguistic and socioeconomic barriers break down amid their close quarters and shared awe for the music.

No one loves or dies without purpose in this searing and artful film.

It's overripe and improbable, but you'd need a flinty heart to resist the message of solidarity, that if you spend time with someone, anyone, you'll find common ground.

In Bel Canto, the tension is barely there to start with.

Bel Canto pushes a hard message about cultural misconceptions and boasts a promising and diverse cast, but only really makes an impact in the first and final minutes.