Latest Film Reviews
The Fox and the Hound/The Fox and the Hound II (1981)
Sweet but a bit dull...Overall, the picture is good-hearted and colorful, with an ending that carries a nice touch of ambiguity about the tussle of nature and nurture.
Mars Needs Moms (3D) (2011)
The whole fiasco turns out to be an excuse to let Seth Green play a (redubbed) little boy. Next time, maybe just cast a real boy, build some sets in an old barn, and have Mom make the costumes.
The comic targets and the central manchildren bromance all feel overly familiar...Still,
benefits from Pegg and Frost's British comedic slant and the full complement of comedic talent...
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.
Marshall's sunny, sitcomedic comedies tend to be kinda bad but also compulsively watchable, and this one's no exception...
Burn Notice: Fall of Sam Axe (2011)
A reasonably fun double-episode of
...Who doesn't love Bruce Campbell?
Soul Surfer (2011)
Faith-based...With its sports-movie structure and Hollywood production values,
is a creditable crossover picture; it just could've done with more nuance.
The Name of the Rose (1986)
For labyrinth-lovers...a thoughtful and entertaining murder mystery predicated on intellectual debate.
Despite it all, just try to take your eyes off this movie: skillfully crafted by Levinson,
is eminently watchable, deeply emotional, and populated with top acting talent.
[Gives] Weaver equal billing with everyone's favorite Southern spitfire, Holly Hunter. Teaming up these heavyweights is the genius notion of
, a solid serial-killer thriller elevated by phenomenal acting.
Better Off Dead... (1985)
Full of...goofy ironies, and while it ain't Molière, it is a pretty great entry in the teen-comedy genre.
Uncle Boonmee Who Can Recall His Past Lives (2011)
Fits neatly into Weerasethakul's cinema-shaking oeuvre of beautiful experimentation.
Life During Wartime (2010)
A typically horny-thorny Solondzian dramedy...Solondz's is a universe of limitless disappointment.
Beauty and the Beast (1946)
Forbidding images of forbidden people and places delineate the edges of an otherwise simplistic fable...in its languid romance,
Beauty and the Beast
is about the irrepressible, exciting rightness of the 'wrong.'
High and Low (1963)
One of the all-time-great 'procedurals'...the devilish fun is in the details for Kurosawa.
Burger plunges into the material at such a headlong pace and with sufficient adrenalized style as to propel this essentially trashy thriller and distract from the abundant loose ends.
Be Cool (2005)
As loosely adapted from Elmore Leonard's
sequel novel, the sequel movie
tastes like a watered-down drink.
Winter in Wartime (2011)
Spielbergian touches...a good enough mainstream drama, but one can't help but feel it's a missed opportunity to give Terlouw a more textured treatment.
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.
The Music Room (1958)
A surprisingly sympathetic elegy for the feudal class, or at least one of its sad representatives...the notion of lost legacy informs the film's distraught last word: 'blood.'
Leigh's extensive use of improvisation in rehearsal led to a razor-sharp final script, endlessly blooming with memorable dialogue that—while never less than credibly naturalistic—proves thematically fertile.
Source Code (2011)
is philosophical science fiction and not just 'sci fi,' there's something to chew on here about consciousness: when it begins and ends, and that old chestnut of what constitutes reality.
Das Boot (1981)
Few war films are more potent than
...the ultimate submarine movie.
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.
Leaving Las Vegas (1995)
Figgis puts a desperate drunk front and center and demands we deal with him and the Jungian shadow he casts.
The Horse Soldiers (1959)
Though flawed, John Ford's
The Horse Soldiers
has a fair amount going for it: the well-oiled partnership of Ford and star John Wayne (and an assist from William Holden); Ford's vivid visual style; and large-scale action.
Project Nim (2011)
Fascinating characters...inescapably provokes consideration of the human animal’s primal nature.
Hobo With a Shotgun (2011)
The screenplay plays like the result of a 'Write the Most Vile Line Ever' contest, which in itself will be a huge draw for cinematic dumpster divers.
Louie: The Complete First Season (2011)
Seemingly conceived on the fly as much as it's shot on the fly,
cultivates the unexpected.
More interested in melancholy wryness than belly laughs, and the low-key results have a pleasant fizz.
Both Buck and
endorse sensitive care for the voiceless, whether they be horses or cowed children.
Zazie dans le métro (1960)
Jazzy and daring...takes Raymond Queneau's novel—the sort generally considered 'unfilmable' and makes a film so cinematic as to appear
Original Sin (2001)
Though written and directed by a Pulitzer Prize winner,
is better known as the picture in which a naked Angelina Jolie (by then a certified Oscar winner) and Antonio Banderas do the horizontal mambo.
People on Sunday (a.k.a. Menschen am Sonntag) (1930)
People on Sunday
regards people lazing about, its legacy is that of filmmakers proving their industriousness.
The Long Riders (1980)
Hill's lean, mean approach never had a more appealing texture than it does here...
Larry Crowne (2011)
Has the consistency of an individually wrapped slice of Velveeta.
Of Gods and Men (2011)
Loses some power by letting the central debate fizzle out...but rallies in the end with an eloquent post-climactic testament by Christian, an attempt to respond rationally to the irrational.
benefited from the creative freedom of '70s cinema...at its best when it's most creatively subversive...
New York, New York (1977)
Ultimately a very personal film about how Scorsese views a genre of film and, as such, has a much more coherent vision than its reputation would suggest.
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