Latest Theatrical Reviews
Finds Soderbergh keeping it simple, stupid, by filling the story's hollowness with kick-butt action and elements of style.
A slow disintegration of the thin veneer of social niceties, revealing the human animalism underneath. Like Reza's equally popular
God of Carnage
isn't as deep as it would have you believe, but both plays are catnip for actors.
Tinker Tailor Soldier Spy (2011)
Whether coolly dispatching a fly or eating a Wimpy burger with knife and fork, Oldman carefully makes every gesture part of his quiet revelation of character.
The Girl with the Dragon Tattoo (2011)
Fincher is perfectly suited to the material, with its voluminous clues to be organized and parsed, its emotional austerity, and its serial murder, rape, and sundry sick plot twists.
Young Adult (2011)
What ultimately makes
worth the trip is Theron’s uncompromising performance, which dares to make Mavis unlikeable and, in the process, earns our pity and, more disturbingly, our identification.
New Year's Eve (2011)
I tell ya, I haven't heard this much talk about ball-dropping since the junior high locker room.
The Artist (2011)
Though this pastiche has been crafted by film nerds and largely for them, Michel Hazanavicius' feature has an emotional generosity that speaks louder than words.
The Descendants (2011)
If you see
, see it for Clooney (and Woodley), but don’t believe the hype that it’s one for the ages.
The Muppets (2011)
Muppet News Flash! Your friends in felt are back on the big screen, ready and waiting to charm a new generation of…moppets.
Into the Abyss (2011)
The interviews that make up the balance of the film yield plenty of oddities of modern American life.
The director's emotional sadism and laughable bluntness in his symbolic approach leave us in the cold, to pick through the art-auction catalog of Manuel Alberto Claro's cinematography and contemplate Dunst's award-winning suffering.
Tower Heist (2011)
Has the perfect 'generic brand' title to match its Teflon blandness.
Martha Marcy May Marlene (2011)
At least, though the insights here aren't as plentiful as Durkin seems to think, Olsen's fine work as the off-balance, paranoid anti-hero helps to create that illusion.
From the man who brought you
...a loud and ludicrous historical rewrite about the supposed hidden authorship of Shakespeare's plays.
Margin Call (2011)
Chandor’s social critique may or may not stand the test of time, but as all eyes turn to the 'Occupy' movement,
is entirely right for this moment.
The Ides of March (2011)
Plays out like a game of high-stakes poker, mostly in shades of quiet, intense deliberation.
Machine Gun Preacher (2011)
Butler delivers an unconvincing performance that's part and parcel of a phony film lacking in any narrative subtlety or finesse.
Undaunted, O'Connor straightens his spine of melodrama and focuses on the task of building up the film's emotional muscle.
A Good Old Fashioned Orgy (2011)
Imagine if the characters on TV’s beloved sitcom
lost their lease and decided to mark the end with an orgy...gives new meaning to 'I’ll be there for you.'
The Debt (2011)
Boils down to the importance of facing up to what one can and can't live with, and taking action to set matters right...audiences will be able to recognize the secret agency in their own lives and the folly of living lies.
Kapadia fosters a distinct 'you are there' feeling for the races by composing his visual storytelling entirely of vintage footage, mostly derived from the Formula One archives.
Conan the Barbarian (2011)
Momoa, also a model, proves that he's more of a poser than an actor: he's a cocked eyebrow, a squinty tic, and an assortment of bulges in search of a performance.
One Day (2011)
's annoying artificiality comes with no compensatory effervescence, a requirement of a romantic picture.
The Change-Up (2011)
A sort of raunchy
It's a Wonderful Life
, though the plentiful nudity and babbling brooks of profanity tip the scale from sensitivity to outrageousness.
The Names of Love (2011)
Serves up a bounty of clichés and borrowed ideas, but it's also overtly political, bringing up issues American rom-coms wouldn't dare touch.
Morris compellingly unfolds the story and clearly means for us to see our own untoward qualities writ large in Joyce and the circus surrounding her.
Captain America (2011)
The most noticeable motif Johnston plays with is the use of a garbage-can lid as a shield: more important than $140 million dollars worth of toys is Johnston’s childlike sense of play.
Project Nim (2011)
Fascinating characters...inescapably provokes consideration of the human animal’s primal nature.
Both Buck and
endorse sensitive care for the voiceless, whether they be horses or cowed children.
Larry Crowne (2011)
Has the consistency of an individually wrapped slice of Velveeta.
The Trip (2011)
Reunites the delectable pair of Steve Coogan and Rob Brydon, real-life actor-comic friends who play versions of themselves to highly amusing and oddly wistful effect.
Cuts the whimsy with melancholy...its case of the cutes isn’t terminal.
Super 8 (2011)
Let's be honest: the b.s. sci-fi plot is so much empty machinery, which becomes steadily more apparent as the film wends its way toward a heavy-metal climax that's narratively and emotionally questionable.
The First Grader (2011)
The weakness of the film is in its blandness of character and obviousness of storytelling: it’s all kept storybook simple...
The Double Hour (2011)
The ostensible genre elements that seem to pitch
The Double Hour
somewhere between crime film and ghost story begin to look like the stuff of an allegory about modern relationships and the fright of commitment.
Kung Fu Panda 2 (2011)
Agreeable enough fare for families craving a little action, comedy, and action-comedy.
Meek's Cutoff (2011)
An existential nightmare of maddening uncertainty, a notion only emphasized by Reichardt’s commitment to ambiguity.
Clobberin’ action, a touch of ’50s sci-fi, and a heaping portion of titan-clashing theatrics spell something a little different for the comic-book movie.
POM Wonderful Presents The Greatest Movie Ever Sold (2011)
As a fast-food pitchwoman once asked, 'Where’s the beef?'
Despite its exotic setting, the personal connection of Rio-bred director Carlos Saldanha, the odd eye-popping sequence, and a lot of literal color, the new CGI-animated
turns out to be figuratively colorless.
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