Stone returns to the grit, grime, and blood of his glory days with this breakneck SoCal-set thriller.
While his classic hyperbolic visual style is back in force, Oliver Stone can’t bother to muster any of his usual righteous anger.
How to sell a Keira Knightley period romance and still distinguish it from every other Keira Knightley period romance?
It’s probably not a good sign that the poster for Oliver Stone’s Savages makes a perfect column subject for Easter Sunday.
Albert Nobbs is a headline-grabber that never transcends its gimmick, trying so hard to be socially humane that it forgets to be human.
The tempered historicity of the film occasionally descends into facile myth.
Nowhere Boy is an unusually accomplished first feature by female British artist Sam Taylor Wood.
This sloppy trifle is merely the latest piece of disposable Friday night mainstream-cinema juvenilia.
Until the cheap sentiment of its finale, The Greatest feels like a generally honest look at the grieving process.
If only it was rewritten in a manner different than the Bryan Singer film, well that would have been magic, wouldn’t it?
Hollywood has yet to realize that Jackie Chan’s stellar fighting abilities entitle him to something more than Gilligan status.