Even if Safe House turns especially silly in its final attempt at social justice, the film achieves something rare for a Hollywood action film: depth of purpose.
Bereft of both spiritual and narrative spark, the loss-of-faith drama Higher Ground gets stuck in the valley of the shadow of snark.
Jones’s Source Code is far more nuanced and intelligent thriller than it has any right to be.
You’ll wish it stuck with Reeves’s unlikely casting as Lopakhin in the Chekhov play as its focus rather than just a cutesy twist.
Duncan Jones’s fascination with dueling identities continues with Source Code.
If you haven’t already, set 10 minutes aside to savor Pictures at a Revolution author Mark Harris’s latest unfailingly insightful demythologizing of the Oscar game.
Mo’Nique might want to pull it waaaaayyy back before she loses the Oscar, but she’s at least a lock for a nomination.
It’s a smooth ride, which is precisely the problem in a film proposing to examine a hollow character’s malaise.
The only thing mysterious about Orphan is why Vera Farmiga and Peter Sarsgaard signed on to such an idiotic mess.
The suspense generated from Esther’s early lunatic behavior is of a mild, amusing variety.
From “the studio that brought you the Academy Award-winning Life Is Beautiful” comes another Holocaust movie that you’re sure to love!
Rod Lurie’s focus is on lean, intelligent storytelling, while keeping his righteous anger worked seamlessly into plotting and character development.
The film is at once too historically removed from its subject and too hysterically committed.
Quid Pro Quo is appealingly offbeat until its narrative takes a wayward detour into pat simplifications.
Joshua might have been delicious if it weren’t so blatantly hateful toward women, queers, and religion.
The pitch meeting must have been frightening: Caché for fans of Chocolat.
The film’s lucky-charmed score is one of many subliminal devices in the film: No one better lay a hand on Scorsese’s Oscar.
Breaking and Entering plays out like a softer, more cuddly version of Michael Haneke’s Caché.
The Departed jumps out of the gate like a caged lion freed into the wild.
Amid this shallow, vulgar morass of cultural stereotypes and racial epithets, Paul Walker reconfirms his status as filmdom’s preeminent hunky cipher.