It ain’t the nostalgia the repeat offenders at Concept Arts were going for.
For me, Ebert always seemed to be there when I needed him.
The story of Rosario Dawson’s discovery speaks to her enduringly cool credibility as an actress.
If 2004’s Catwoman expressed anything, it was the empowerment Halle Berry felt after winning her historic Oscar three years prior.
White House Down looks to be the peak of Roland Emmerich’s violent affair with 1600 Penn.
On our list, the folks in question host game shows, parties, and, yes, troublesome phantom entities.
Its title, very graciously, doesn’t end with a “Part 1,” but The Host sure has enough plot points and ideas to fill two installments.
The director talked about Ryan Gosling, family, fateful collaborations, and how, in art and life, choices mean everything.
The film draws out Danny Boyle’s less dazzling commercial side, not to mention his penchant for whirling excess.
I did my vacationing first by way of the movie screen, making all subsequent traveling the realization of romanticized visions.
In the minus column, Woodley is also proving to be an arm in the recent hydra of woman-hating entertainment news.
Testraint doesn’t seem to be an item on Tyler Perry’s menu.
Küf operates as both character study and elongated funeral procession.
Beyond being asinine and unwittingly cryptic, the film is also a slice of unintentional sleaze.
Before he even takes a seat, Korine makes note of the faint “unce-unce” pumping out of the house speakers.
The estrogenic elements prove widely ineffectual, but they’re just pieces of this overloaded misfire whose double-entendre title ultimately just goads the jaded viewer to admit defeat.
From the animated to the animalistic, the perfect to the perverse, this list is one royally diverse bunch.
The marketing behind Spring Breakers cheekily promises just what the gonzo film delivers.
What she declares about her craft is, thus far, the most telling element of the ever-chugging Beyoncé train.
This epic waste of $190 million plunders the grab bag of overused plotlines, failing to put its own stamp on much of anything.