Latest Theatrical Reviews
Though the acts don't have the heft required for concert-film greatness, they do comprise a sort of screen capture of the decade's musical movement.
Following Sean (2006)
Without belaboring his narrative shaping, Arlyck asks big questions about life paths and philosophical drift.
Too seldom clever, too often tiresomely busy, and wasteful of its voice cast, it's
that is the crime.
Glory Road (2006)
When coach Don Haskins sent out five African-American starters to face off against an all-white Wildcat team, barriers were broken, but
just hits the wall.
Tristan + Isolde (2006)
Bypasses the mythic tone of Richard Wagner's opera...without forsaking storybook romance. The inoffensive results get the job done, but sadly fail to excite.
The Matador (2005)
Writer-director Richard Shepard speeds through the hairpin turns of a pure-comedy 'what if?' premise....as quirkily suspenseful as it is ticklish.
Grabs for the gut by stoking primal understandings about our loving but tragically distant relationship with the wild.
Match Point (2005)
Amounts to little more than an austere and extremely prolonged episode of
Alfred Hitchcock Presents
A potent legend of modern international relations.
Forty Shades of Blue (2005)
Has the plaintive, lyrical feel of a classic Southern short-story.
Gong fu (Kung Fu Hustle) (2005)
Rock crumbles, wood splinters, and cartoon sound effects yelp in Chow's full-bore looney tune.
A modern romantic comedy movie transplanted to 18th Century Venice...Hallstrom's fleet-footed romp is impossible to take seriously, but that's largely the point.
Rumor Has It... (2005)
For a movie purportedly about the truth behind a movie, the mushy
Rumor Has It...
feels astoundingly false.
Mrs. Henderson Presents (2005)
The diminished return of the English striptease comedies...neither swanky nor funny enough to entertain, and Sherman's shallow script never earns its melodramatic turns.
The man's increasingly crazifying attempts to make serious films are still nothing more than good movies. Perhaps only Spielberg could fail so spectacularly well.
Fun with Dick and Jane (2005)
Starts out as a nifty satire, then turns ghastly for most of its running time.
Cheaper By the Dozen (2003)
Cheaper By the Dozen--inspired by the book by Frank Bunker Gilbreth Jr. and Ernestine Gilbreth Carey and a 1950 screenplay by Lamar Trotti--has all the comic sensibility of a food fight. In reality,...
The League of Extraordinary Gentlemen (2003)
It's difficult enough for filmmakers to make great films from great novels, but cinema's short history has seen plenty of fine adaptations. Hollywood's failure to make more than a handful of satisfac...
The Batman/Superman Movie (V) (1997)
The Batman/Superman Movie
is an action comedy, a superhero "buddy picture"...this eventful superhero adventure delivers twice the fun.
The World's Fastest Indian (2005)
A true-sports movie starring 67-year-old Anthony Hopkins as the athlete? That's exactly what you get from The World's Fastest Indian, Roger Donaldson's ode to Kiwi motorcyclist Burt Munro. In 1967, M...
The Warrior (2005)
Narrative elegance and rapturous imagery highlight
...[as well as] the dark charisma of leading man Khan...and lovely vistas.
The Upside of Anger (2005)
A pleasant surprise, a sprightly comedy with a dramatic aftertaste.
The Talent Given Us (2005)
What starts out seeming courageous rapidly reveals itself as a narcissistic, opportunistic stunt.
The Squid and the Whale (2005)
With brisk energy, Baumbach finds equal parts humor and sadness in the foibles of his family.
The Skeleton Key (2005)
Ghosts threaten to make matters miserable for the living, sort of like
The Skeleton Key
. As Peter Sarsgaard says...too convincingly, 'All I know is the checks clear.'
The Ring Two (2005)
A sketchy horror plot slips from episode to episode with no particular momentum. As far as I can tell, Kruger made a list of scares, and Nakata ticked them off.
The Producers (2005)
Not for the resolutely politically correct or the shtick-averse. For everyone else, it's the Christmas gift that keeps on giving.
The Sisterhood of the Traveling Pants (2005)
Family-friendly films for girls...[usually] drip with phony commercialism and pettiness of character; by comparison,
is not only a class-act, but a godsend.
The Prize Winner of Defiance, Ohio (2005)
Thoughtful and energetic....Anderson has in Ryan's story a bittersweet exemplar for the unsung toil and love of prefeminist desperate housewives...
The Perfect Man (2005)
Who would've thought...that the certifiably awful/unaccountably popular Hilary Duff was daring enough to make a movie about having a lesbian relationship with her mother?
The Pacifier (2005)
To those who think critics are too hard on movies...I ask, can you tell the difference between a
School of Rock
? Family films don't have to suck.
The Man (2005)
I bow to the Buddha nature of Jackson and Levy....the average moviegoer in me can see the entertainment value in
. Just not $9 bucks worth.
The Man Who Copied (2005)
An unconventional romance...a complex crime movie, and a jaunty comedy...few will leave this stylish, adventurous film wanting for entertainment.
The Longest Yard (2005)
Just remember kids: as fun as it all seems, fast food, soda, candy, binge drinking, reckless driving, steroids, dirty ball and, well, yes, Adam Sandler movies are bad for you.
The Jacket (2005)
That Maybury's film avoids easy categorization (and the increasingly cheap twistiness of today's psychological horror thrillers) is one of its finest points.
The Island (2005)
Dimwitted, action-flailing mediocrity....Michael Bay...[said,] "I always say, '**** the critics'"...I'll tell you what I always say: "Michael Bay is a tool."
The Interpreter (2005)
A second-rate morality play, with red herrings and MacGuffins shoring up a tower of Babel. Do yourself a favor and rent
Death and the Maiden
The Ice Harvest (2005)
Zesty enough to make the ol' noir two-step seem worthwhile.
The Honeymooners (2005)
, though not bad, is hardly ever good, either.
The Hitchhiker's Guide to the Galaxy (2005)
Audiences can be grateful for the unique absurdist dimensions and freewheeling irreverence of Adams, which place the film in its own category of science-fiction comedy.
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