Latest Theatrical Reviews
Killer Joe (2011)
Friedkin’s pretty shrewd himself, in how he teases out the humor without indulging Letts’ immature glibness, and how he sidesteps Bible Belt baptism to waterboard us in the sewer of selfish human nature.
Hope Springs (2012)
There’s a weirdly riveting intensity—and a palpable sense of privilege—to the way the movie takes us into squirmy private moments...
Ruby Sparks (2012)
In a time of mind-numbing rom coms,
uses fantasy to get real about modern romance.
The Imposter (2012)
Stranger than fiction...simply by presenting us with the facts as they unfolded, Layton winningly encourages more questions than answers.
The Dark Knight Rises (2012)
The Nolans consider the issues of the day...explore the role of legendary heroes (from Robin Hood to Batman and Robin) in galvanizing the public, and labor mightily to ensure that how their Batman ends dovetails with 2005’s
The Intouchables (2012)
With its brash humor and emotional generosity,
has crowd-pleaser written all over it, but there’s no mistaking the queasy racial implications.
Oliver Stone, bless ’im, still believes in red-meat cinema.
Take This Waltz (2012)
Polley’s fearlessness is one of many reasons I take no pleasure in saying that
Take This Waltz
Clearly inspired by 1960s Batmania, the hunka hunka burning camp that is
adapted French science-fiction comic books into gleefully oversexed cinematic pop art.
To Rome with Love (2012)
More distressing are Allen’s regressive treatment of women...and an off-putting solipsism.
If you yearn to be treated like an eight-year-old, this R-rated kids movie for adults—the very opposite of Judd Apatow’s wave of 'time to grow up' comedies— is all yours.
Seeking a Friend for the End of the World (2012)
For the apocalyptic circumstances to be more than cheap window dressing, Scafaria owes us more thought and insight and satiric zest than her film offers up.
Your Sister's Sister (2011)
Turns out not to be heady in theme and may not linger long after viewing, but it's still an enjoyable emotional wringer to be put through, in the company of a well-matched trio of actors.
Rock of Ages (2012)
Shankman's frappé of '80s rock is hideous, but weirdly fascinating...this is a movie you'll never be able to un-see, so think carefully...
Peace, Love, & Misunderstanding (2012)
Jake’s ever-present video camera notes the sign 'Woodstock 3 mi.'—but it should read 'Shameless Contrivances 3 mi.'...make tracks, not love.
Snow White and the Huntsman (2012)
Be vewwy, vewwy quiet: add Eric and Snow to her boyhood pal Prince William...and you get another love
Opens with the legend 'This story is based on true events,' adding, 'Really.' Except that it isn’t. Not really.
Dark Shadows (2012)
By asking the audience to take far too much on faith,
can only be an interesting failure.
Darling Companion (2012)
Currish...the film's niche audience is indiscriminate aging dog lovers; people lovers should look elsewhere.
The Avengers (2012)
It's quite possible that
has more action than any movie ever made...[but] for all its thrill-ride clutter,
is just about as simplistic as them fightin'-robot pictures...
The Five-Year Engagement (2012)
Pessimism, sweetness, raunch and loopiness make for a pleasantly offbeat blend.
The Cabin in the Woods (2012)
, a self-referential horror film that tongue-in-cheekily deconstructs its own genre.
American Reunion (2012)
Predictability is the fatal flaw of any
sequel, and while this one comes closest in tone to the original film, that's a decidedly double-edged sword.
The Deep Blue Sea (2012)
This exquisite realization is as vital as can be in depicting the timeless tortures of the romantically damned.
Mirror Mirror (2012)
By toning down his excesses for a mass audience of largely children, the self-billed Tarsem hits his sweet spot, serving up lavish sets and costumes to create a fantasy world that doesn't make us want to scratch our eyeballs out.
Largely concerned with the prickliness and delicacy around legacy, and the attendant patrilineal complications...But it's as much about the egotism and dysfunction of academia, reflected in the complex personalities of Eliezer and Uriel.
Being Flynn (2012)
It's simply difficult to throw in with the film's reality-if not its essential story, then its details:
feels indie art-directed instead of observed.
Silent House (2012)
may be a built on a shaky foundation, but its scare tactics are sound, and its gimmickry is enough to stand out in a crowded genre neighborhood.
We Need to Talk About Kevin (2012)
An annoying provocation with too little to say, a serious credibility deficit, a whiff of misandry, and a miscalculated, unseemly gusto for abusing its hero. Instead of having catharsis, the audience just gets had.
Big Miracle (2012)
Perhaps the title sets an expectation Ken Kwapis’ movie can’t quite deliver.
The Grey (2012)
Though it does thrill with intense, close-cropped action photography, swift editing, and vivid sound design,
makes as much of an impression by being unexpectedly emotional.
Extremely Loud and Incredibly Close (2011)
Except as a tool for pediatric grief counseling,
Extremely Loud and Incredibly Close
amounts to a fetishization of its own trappings (the boy, NYC, 9/11) more interested in Oscar than Oskar.
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.
All site content © 2000-2017 Peter Canavese.
Page generated at 04/20/2017 06:10:51PM.