Our greatest living actor makes the fortune-cookie bromides of Matthew Dean Russell’s Seven Days in Utopia sound like Yeats.
Does Tom Cruise get script-doctoring rights even on Katie Holmes’s films?
The film, despite some unexpected cultural observations and insights into its male protagonist’s sexual insecurities, is very much a product of our time.
There’s a gallows humor to the death sequences that giddily invites our applause, but the film also wants us to be appalled by how and when death can come to us.
Faced with the horror of half-assed material from which he can’t escape, James Franco allows himself to be steamrolled by his pet monkey.
The Smurfs movie reminds us that there’s no bigger bitch in life than nostalgia.
Pity that John Carpenter chose to direct as Disco Stu, as the look of The Ward suggests a lame dad trying to get with the times.
Denis Villeneuve’s blistering artistry humanizes all facets of the postmodern battle of the sexes.
Something wicked this way comes in Michael Rowe’s film, a character study of outstanding subtlety and fierce aesthetic exactitude.
A stale but scrupulously structured anecdote, A Better Life seems intended as an eye-opener for the send-’em-back American racist.
Green Lantern is a mediocrity, neither folly nor kitsch.
Crap figures prominently throughout Judy Moody and the Not Bummer Summer.
The Tree of Life is overwhelming, a gorgeous kaleidoscope of light and color that can feel like a prison.
Part of its charm derives from how its concept takes audiences, like its main character, by surprise.
The show’s powerfully invasive aesthetic conveys the idea of our moral and political consciousness struggling to free itself from inaction.
Prom is like high school in a way, asking audiences to take the good with the bad.
Despite ample proof to the contrary, Hoodwinked Too! Hood vs. Evil was not written by the punaholic Carrie Bradshaw.
African Cats is rich in on-the-plain minutia, but the plain doesn’t always feel like a plain.
The visually stupefying but unfeeling Hanna may be seen as Joe Wright’s live-action version of Disney’s The Little Mermaid.
Let’s give James Wan a hand.