Latest Film Reviews
Shrek Forever After (2010)
Shrek Forever After
from utter mediocrity isn’t its high-priced superstar voice talent but veteran animator Dohrn, who steals the show by making Rumplestilskin the best oily runt since Danny DeVito last dispatched a taxi.
magazine pictorial-style imagery and excessive use of slo-mo are far more annoying than they are easy on the eyes, and the hyperactive editing is unbearable.
Sports pretty much everything one would want in a Western, and though it's not always eminently artful, it is rarely anything less than entertaining.
Edge of Darkness (2010)
As expertly headlined by Mel Gibson...
Edge of Darkness
makes a virtue of its fatalism, while ace mainstream director Martin Campbell compensates well for the script's shortcomings in the credibility department.
Robin Hood (2010)
A muddled compromise that likely won’t please history buffs, Robin Hood aficionados, or casual summer-movie viewers.
Iron Man 2 (2010)
Showmanship is the order of the day for superhero sequel
Iron Man 2
, though the flash and dazzle distract from plot machinery that’s more than a little clunky.
Worth seeing—and, yes, in a theater—for its legitimate "wow factor"...a visually intriguing diversion and instant movie history.
Crazy Heart (2009)
Bridges ably does his own guitar playing and singing, another reason
is a gift to those who have long appreciated his talents.
The Secret in Their Eyes (El secreto de sus ojos) (2010)
The Secret in Their Eyes
doesn’t hedge any bets, offering healthy servings of romance, mystery, prosecutorial tension, social critique...and comic relief.
Clash of the Titans (1981)
Though Harryhausen's glory days were past him, he and his team do provide some magical moments.
Rather than simply repeating the successful formula of
, which incorporated humor but largely played it straight,
flips the script for a largely comic action picture punctuated by a dark, rug-yanking conclusion.
The biggest impression left by
is the characterization of Sanjuro, whose iconography of stoic cool (that inspired Clint Eastwood's antiheroic "Man with No Name") is consistently undercut with dashes of comical realism...
Broken Embraces (2009)
This isn't the first time Almodóvar has explored cinema and its power to change lives, but for all its colorful visuals and narrative sophistication, the story feels more insular than ever.
The Blind Side (2009)
Surely post-recession America will turn out in droves for this cinematic version of a hug. But should they?
Repo Men (2010)
Perfectly positioned to take advantage of the health care debate. Unfortunately, the satire doesn’t get any more complex than 'What if the mortgage crisis were over livers instead of houses?'
doesn’t amount to much, really, but it’s an enjoyably amusing character study with plenty of little pleasures.
How to Train Your Dragon (2010)
The 3D is justified, mostly by flying sequences that are certain to fuel the dreams of many a child.
The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers (2009)
The film for anyone who ever doubted that one man can make a difference.
The Princess and the Frog (2009)
The beautifully hand-drawn
The Princess and the Frog
keeps up a brisk pace and energy, but only partly achieves the effervescence of a Disney 'classic.'
Wondrous, weird, and sweetly innocent,
is a tale bursting with love, which is recommendation enough for the young and the young at heart.
Remember Me (2010)
Only slightly edgier and no more sensible than a Nicholas Sparks story.
Bigger Than Life (1956)
The sort-of picture-perfection of the suburban home...is a tenuous cover for the unpredictability of life, the short distance between the American Dream and the American nightmare.
Saint John of Las Vegas (2010)
Conspicuously pointless...an underachieving comedy of awkwardness.
The Negotiator (1998)
This highly incredible story lives and dies on its leading performances, so it's a damn good thing someone hired Jackson and Spacey to go toe to toe.
Logan's Run (1975)
Despite its grabber of a premise,
flaunts poorly developed plot specifics; as such, it's terminally silly. Nevertheless, as a camp curio, it still has an odd but undeniable staying power.
A stealth epic, framing an urban jungle and making its own kind of contemporary history by pairing acting giants Robert DeNiro and Al Pacino in what has arguably become the preminent cops-and-robbers movie.
What to make of short-attention-span artists satirizing a short-attention-span world?
Black Dynamite (2009)
Well-mined comic territory...dutifully—and it must be said, expertly—recreates the rough cinematography, cheesy production design...and incidental music that sounds like chintzy soul crossed with a Quinn-Martin TV score.
The Stepfather (2009)
Any subtlety or implicit social satire to be found in Joseph Ruben's original went out with the last neighborhood trash pickup. Too bad the service was canceled before it could haul away this waste-of-time remake.
Justice League: Crisis on Two Earths (V) (2010)
As punchy superhero entertainment for kids goes, this is fairly provocative stuff that should get the young'uns thinking along with their thrills.
New York, I Love You (2009)
Some of the twelve short films are nice enough, some are shaky and a few are outright awful...
A potent mood piece lifted by gorgeous cinematography, resonant performances and, above, all, Spielmann's sensitive filmmaking.
Coco Before Chanel (2009)
A rather dull and unchallenging account of one woman's ambitious social climb in a man's world...If Chanel's early years were really this boring, why bother with them?
The Time Traveler's Wife (2009)
with a sci-fi twist...this love story made up of signs and wonders suggests to savor the time you have.
Law Abiding Citizen (2009)
'It's going to get Biblical!'...sets new standards of lunatic plotting as it goes about its smiting.
The Last King of Scotland (2006)
Graham Greene it's not....Whitaker's striking work aside,
The Last King of Scotland
is insipid, obvious movieland history.
Walk the Line (2005)
A dash more authentic--or, at least, more subtle--than its Hollywood spawning and Taylor Hackford's come-on-strong take on [Ray] Charles would seem to predict.
The Last Station (2009)
Winds up feeling strangely perfunctory. This is subject matter that should fascinate, rather than deliver an occasional droll observation.
From Paris with Love (2010)
If only Morel and Besson would have committed to satirizing, instead of merely exploiting, this superficially cool, destructively cold archetype of American firepower, they could’ve had more than multiplex filler.
A smart little genre outing, an endangered species in modern Hollywood.
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