Michelle Williams quickly settles into one of the year’s best performances, and one of its purest sources of movie bliss.
Tyrannosaur is one mean movie, an aggressively harsh extension of Paddy Considine’s’s 2007 short Dog Altogether.
His magnetism is firmly tied to his superior, switched-on performance capabilities, of which his rugged good looks are but a bonus.
Breaking Dawn offers precious few returns, and it continually punishes all who curb their cynicism for even a split second.
The Descendants is unassumingly superb, and it’s sure to clinch a whole lot of Oscar nominations. Indeed, it’s a Clooney.
Call off the dogs.
Dashing across the screen in all its bloody, gilded glory, the awesome and beautiful Immortals marks an all-win scenario.
The film has limited mass appeal, and what Clint Eastwood brings this time out is more a deft shepherding of others’ talents than a showcasing of his own.
Even if it’s not your bag, the film does possess its own Pepto-hued point of view.
The promotion of Lynne Ramsay’s We Need to Talk About Kevin has been all over the map.
Roland Emmerich’s film is an interesting case in that it may very well be its director’s best work; however, a better director is the one thing it surely needed.
The film blows the opportunity to express something meaningful about current events.
If you’ve got genuine New York gum stuck to the bottom of your shoe, chances are Dito Montiel wants to shoot it.
This new poster adds polish to the aura of a film whose every update has demanded attention.
The Help represents a pitiful lack of progress, and that’s hardly an indictment of the ways its characters and events are depicted on screen.
The film usually feels like it’s soullessly connecting dots, a far cry from the Before Sunrise-style substance its Yank-meets-Euro chattiness might suggest.
Is that Coke or a 40 dangling from Charlize’s fingers? What might a Pomeranian have to do with all this?
No film this year is poised to collect more Academy Award nominations than Michel Hazanavicius’s silent movie about the silent era.
The Mighty Macs is a film from another planet.
Both images emit a roaring, pompous confidence in their lead candidates.