Almost none of the deaths in Wish Upon have any thematic connection to the main character’s wishes.
Christopher was eager to talk about how he was able to restore his 1998 film 54 to its original glory.
Phillippe discusses the ups and downs of Catch Hell’s production, the freedom of directing himself, and more.
The meta-narrative leanings of Ryan Phillippe’s directorial debut almost predictably give way to self-congratulation.
Reclaim’s highly mechanized plot ensures that the film is over before it even ends.
This final season of Damages ups the ante by conflating a banking scam with the murky legality of a WikiLeaks-like website.
The film is less interested in questions of photojournalistic ethics than the emotional and psychological suffering of its four white South Africans in apartheid-torn 1994.
The Lincoln Lawyer has a hard-boiled identity bubbling under the conventional narrative mechanisms at work.
Like many a contemporary lowbrow comedy, MacGruber’s at its best when it’s most vulgar.
MacGruber uses all of Hollywood’s lavish resources and conventions to get you to laugh at Hollywood’s excesses and conventions.
Stop-Loss is as much about the war in Iraq as it is about making movies-and like its kin, it isn’t any good.
That Stop-Loss wears its generally good intentions on its camo sleeve doesn’t keep it from being consigned to the missed-opportunity file.
Breach confirms that Ray isn’t a great visualist but an impressive actor’s director.
The film trembles in the shadow of Letters from Iwo Jima but the quality of its image and sound elements is almost unrivaled.
Breach is good enough to give you a whiff of the more complex film that might have been.
The best thing that can be said about Breach is that it isn’t directed by Tony Scott.
What rankles me the most is the received wisdom that somehow Flags of Our Fathers has too broad of a canvas for Eastwood and thus is outside his particular wheelhouse.
The stink of Crash hovers over Flags of Our Fathers.
Clint Eastwood’s creaky history-class lecture Flags of Our Fathers makes the nature of heroism its primary point of concern.
Crash explores, via interlocking stories, the cultural, racial, and spiritual isolation of Los Angelinos.