Latest Theatrical Reviews
Playful...the most conspicuously repeated word is 'game,' the most dangerous of which Bond typically is, pursues, or plays.
Despite...misguided commercial instincts,
offers much that's productively unsettling, anchored by Washington's old-school movie-star performance...
Cloud Atlas (2012)
The Wachowskis and Tykwer are determined to make you understand eternity, and in that and only that, they succeed: by the time you get to the film’s endless series of endings, you’ll feel as if you’ve lived lifetimes.
Chasing Mavericks (2012)
There’s a nobility in a well-made teen movie, not least because of the rarity of the breed...[this] sports movie concerned with the physical, emotional, and moral development of a young man fruitfully aspires to the likes of
Simon and the Oaks (2011)
Foreign-film comfort food...at its best in exploring the psychology of the adopted.
Seven Psychopaths (2012)
Smart enough to work on multiple levels: as a witty salute to masculine '70s cinema...as a deconstruction of same...and as an existential consideration of the role of self-expression in ascribing meaning to life...
Taken 2 (2012)
The ludicrous plot devices that allow Mills to go from point A to point Z insult the intelligence of the character and the audience.
End of Watch (2012)
End of Watch
introduces as 'Once upon a time in South Central' may feel a bit old hat...
Playing a character that's almost entirely unsympathetic, Gere demonstrates the outward charm that's allowed Miller to accumulate his wealth and status, as well as the abyss-staring soul his showmanship conceals.
This psychodrama of ill-advised behavior may well leave you feeling dirty...for what you've watched helplessly and perhaps for what you've countenanced as an American citizen.
The Words (2012)
A fairly straightforward yarn with bluntly articulated themes of Regret, Guilt, Misplaced Trust, and the Vagaries of Fate.
Sleepwalk with Me (2012)
Film demonstrably isn't the best medium for this story...but [it] remains resonant, with its hidden-in-plain-sight metaphor of drifting unconsciously through life.
Tough-minded...In recounting 'the Great Franklin County Moonshine Conspiracy,'
does not lack for local color and local legend.
Robot & Frank (2012)
Cold-staring with a black, reflective visor, a robot helps a fading old man to see life, and himself, more clearly.
Hit and Run (2012)
Yee-haw, and so forth.
Celeste and Jesse Forever (2012)
A kinder, gentler divorce comedy...Jones' commitment to portraying Celeste at least as much for her flaws as her strengths winds up making the character more likeable.
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.
Moonrise Kingdom (2012)
’s heartfelt search and rescue of a feel-good result provides a perfect, even musical counterpoint to its regimented summer camp.
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.
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