It winningly reflects how to utilize quiet understandings and, yes, very loud laughter.
Dianna Agron, suddenly inspired to let go, proves the perfect on-the-prowl foil to Paz de la Huerta’s free spirit.
What other films have seen their heroes roam the red landscape or tussle with its residents?
Paul Weitz’s proudly boisterous star vehicle for Lily Tomlin has about as many ambitions as it does delusions.
Magic Mike XXL plays like the party bus whose road was charitably paved.
The film uses its male-on-male boundary-leaping to give the shopworn man-boy narrative a refresh.
It’s hard to pick the most startling edit in Bare, a film that attempts to strip down desire to its essence.
Dornan somehow manages to render his sculpted beauty moot, which throws a major wrench in the gears for a film dependent on eroticism.
This PG-rated romp is, refreshingly, less notable for its happily-ever-afters than its oh-no-they-didn’ts.
Its chief misstep is taking its title too literally, and ultimately depicting Louie as an indestructible, and thus largely inhuman, superhero.
It places regurgitated ideas into the mouths of gifted actors, then drops them amid a kooky story that plays like an elaborate distraction from what little the film actually has to say.
David Frankel matches his subject in spirit, pushing something into the spotlight that, however unlikely, elicits irresistible glee.
There’s only so many times we can watch Gaspard Ulliel inhale downers and cigarette smoke until the numbness grows palpable.
Of Bennett Miller’s many directorial feats, his canniest is his depiction of the precariousness of bonds, and how those bonds can shift, drastically yet almost imperceptibly.
The film boldly raises the unanswerable question of whether it’s better for an artist to safely isolate his work or tweak it a bit so as to share it with the world.
This great actor’s voice is a wonderful contradiction: rough and smooth at once, like sandpaper worn beyond use.
We may have all wanted to know the story behind those famed horns, but the mystery was far preferable to having Maleficent defanged and declawed in the process.
Gray speaks to us about not directing Phoenix, his personal links to his films, and what he loves most about NYC.
As she recalls her early goals and ambitions, her memories mirror the themes of The Immigrant itself.
He admits that Isabelle was a mystery to him—one he constantly tried to crack while making Young and Beautiful.