I spoke with Joseph last month, when the play was still in previews.
Robin Williams’s casting is one of the more astute choices for Moises Kaufman’s solidly crafted production of Rajiv Joseph’s Pulitzer finalist.
Sometimes an inner demon can be silenced with a single dirty joke.
To be, or not to be. Kenneth Branagh’s seminal Hamlet is as conflicted and vital as life itself.
The Survivors is not simply a showcase for Robin Williams’ wacky antics.
Old Dogs is a series of sub-sitcom sequences designed to destroy any affection once felt for John Travolta and Robin Williams.
Bobcat Goldthwait’s World’s Greatest Dad clumsily straddles the line between comedy and drama.
Director Shawn Levy remains unable to convey the type of grand, awe-inspiring scope and wonder that his material requires.
Harlan Ellison is a mook, but he won’t begrudge you for calling him that.
It’s difficult to see the real brilliance of the Bay Area film scene through this self-congratulatory Fog.
San Francisco has a long and diverse film history, yet most roads in Fog City Mavericks seem to lead to either the Skywalker Ranch or Pixar Studios.
August Rush’s devotion to following through on its screwy internal logic is almost genius.
In the film’s doting view, there’s no great subtext, no great mystery, to Rickles’s success or appeal.
The only amusing thing about License to Wed is the idea that it’s supposed to be funny in the first place.
The disc’s extras are, umm, featherweight, but the film remains darling.
The story attempts to tap into the sense of extraordinary childhood wonder that typified Amazing Stories.
Happy Feet is a film of uncanny political resonance.
There’s nothing about the film that’s quite as fantastic as its depiction of the moribund SNL as culturally and politically relevant.
Nowhere near Robert Altman’s best, but we’re still lucky to have it.
The film’s account of authorial deception certainly benefits from its parallels to the recent outing of JT Leroy as a fraud.