There’s little room for genuine emotion in this turgid romantic fantasy adapted from a novel by slop-meister Nicholas Sparks.
Zellweger’s generic, front-page-ready, girl-next-door smile is outshone by the desperation in Minnelli’s eyes when Sally sings.
The film’s atmosphere of simultaneous intimacy and disconnection is haunting.
The most valuable reason to reinvest in the film after Paramount’s bare-bones 1999 release is this disc’s impeccable widescreen transfer.
What ultimately emerges is a schizophrenic survey of the many ways in which Bob Dylan has (possibly) seen himself.
This expertly executed but hollow exercise in imaginative biography reveals next to nothing about Bob Dylan.
Filmmaker Richard Shepard only thinks he knows how to fake it so real that he’s beyond fake.
For its rambunctious first half, Lasse Hallström’s The Hoax is a rip-roaring yarn.
The key to understanding Terrence Malick’s intent can be found in a camera move that begins the denouement of Days of Heaven.
Bee Season’s mysticism casts an incredibly cold, literal-minded spell.
Shall We Dance? Let’s not.
Peter Chelsom’s Shall We Dance? may be the most polite seven-year-itch comedy ever made.
Best Picture Oscar-winner Chicago gets a no-frills package on this DVD edition.
While the film may deserve the attention, it’s also anyone’s guess whether anyone will care at this point.
Because Rob Marshall takes little pain to create a life between musical numbers, Chicago plods along from one outburst to the next.
Just in time for Christmas, here’s something special to give to that special lady in your life looking to scratch that seven-year itch.
Now that women are cheating on Richard Gere, a door has opened for a fresher Mr. Goodbar.
Mark Pellington’s latest pop thriller is as kooky and overeager as it is spooky and subtly in love with myth.