Latest Theatrical Reviews
A Walk in the Woods (2015)
A broad comic tone...The few funny bits and sharp lines amount to fool’s gold scattered around a claim that never satisfactorily pays off.
Tailor-made for the great Lily Tomlin...Yeah, the circumstances are contrived, but easy enough to accept as long as they’re forcing interesting dynamics into seriocomic confrontation.
We Are Your Friends (2015)
Does not miss its chance to blow...Every bit a screenwriter’s idea of what it takes to make it...while accidentally cultivating the pervading sense that real DJs would laugh their asses off at this movie and its endless dopey brodowns.
American Ultra (2015)
At times pokes fun at the genre's cliché in amusingly productive ways...More often than not, though, this conspiracy isn't the real deal, but rather an elaborate distraction.
The Diary of a Teenage Girl (2015)
[Not] played for cynical misanthropic laughs or as miserable tragedy, but...[in] an honest treatment devoid of the usual rush to judgment.
Mistress America (2015)
Like Brooke, the film flies a strange and arresting course: if not quite a screwball, then certainly a change-up pitch.
The End of the Tour (2015)
Its prismatic philosophical and cultural observation...offers plenty of angles on the true value of the subjective fictions and supposedly objective non-fictions some create and others consume.
The Man from U.N.C.L.E. (2015)
Honors the original characters just fine, but the leads are lukewarm...the [action] mostly unmemorable ...and the split-the-difference jokey-serious tone errs...on the side of fashion-conscious and smug.
Ricki and the Flash (2015)
That special brand of La Streep mugging—here applied to the character of a hot-mess bar-band deadbeat mom—will wear you into submission until nothing else seems to matter. Except that it should.
Best of Enemies (2015)
Like the debates it concerns,
Best of Enemies
entertains to a degree, enlightens to another, and asks us to ponder the relative merits of polar political ideologies and two complicated men who very publicly represented them.
Mission: Impossible—Rogue Nation (2015)
McQuarrie doesn't make it easy to invest in the characters here, but paradoxically he does know how to make us grip our armrests as they face danger, and thus the mission is accomplished once more.
The Stanford Prison Experiment (2015)
Zimbardo insists he’s 'trying to understand how an institution affects an individual’s behavior.' Alvarez’s own dark study, empowered by potent acting, allows the audience to contemplate the many variations on that psychological dynamic.
Resembles its own remarks about predictable patterns in the circuitry of arcade games: here is a series of crass caricatures, obvious setups and payoffs (not to mention a woman problem...), further suffocated by overweening commercialism...
Mr. Holmes (2015)
spins a tale about the falsely drawn lines between stories and our perceptions of real life, between celebrity image and genuine persona, and between upper and lower classes.
With its playful use of scale,
drops a dollop of Lewis Carroll whimsy on the usual clashes of good and evil.
The technical execution is strong...but the invention is weak...simply feels late to the party by spinning off sidekicks...as it trades on '60s style...
Batkid Begins (2015)
Celebrates a city united for fun and goodwill, and the rare, pronounced sense of play and energy adults are capable of rediscovering, as do those who toil excitedly and hopefully to give Miles 'a little bit of his childhood back.'
Terminator Genisys (2015)
Any senses of suspenseful stakes or human-scale relationships have turned weightless, leaving us with crashing and bashing, running and gunning, and a whole lot of head-scratching. The experience is utterly numbing...
Links all-American patriotism with military righteousness, religious faith, and socially conservative family values...when Max isn’t leaping around,
rolls over and plays dead.
Inside Out (2015)
Like a cross between
Mr. Rogers' Neighborhood
dazzles while taking care to send positive messages about the roles of feelings and the value of recognizing and embracing them...
Me and Earl and the Dying Girl (2015)
A disappointing 'film' but, at least for its target audience of white middle-class teens (and probably their parents), a deeply satisfying 'movie.'
Jurassic World (2015)
The culture has had just enough time to miss this franchise, and director and co-screenwriter Colin Trevorrow...has met the challenges with an appealing self-awareness.
Love & Mercy (2015)
Honorable...deeply moving...takes a considered approach to Wilson, sound in dramatic and editorial construction and insightful in its psychological subtexts.
When Marnie Was There (2015)
This latest gentle, sensitive, unhurried tale from Studio Ghibli...excels not only at natural beauty, touched with supernatural flourishes, but also at acute psychological perceptiveness...
San Andreas (2015)
Succeeds at exploiting a proven disaster-movie formula without troubling itself much with little things like plot, character, and dialogue.
At times one feels there's an interesting film here struggling to break free (free as a bird!)...but what's made it to screen sends eyes aloft in its symbolism and its character dynamics.
Curiously vacant characters and curiously pulse-less whimsy...lumbers, middlebrow and tiresome, when it should be daytripping the light fantastic...
Pitch Perfect 2 (2015)
Though the thrill of invention is gone, there's enough comic fertility and accumulated goodwill to sustain
Pitch Perfect 2
through to its splashy and socially optimistic finale...
Clouds of Sils Maria (2015)
Assayas implies that what transpires between the characters of
Clouds of Sils Maria
, between artists and art, and between art and audiences contains its own beautiful mystery that's nourishing, maddening, and essential.
Avengers: Age of Ultron (2015)
Pure, uncut comic-book fantasy...Whedon tames the beast into something spectacularly epic, if a bit exhausting: bursting with destructive mayhem but grounded by interesting character beats, rife with dark implications but seasoned with good humor.
The Grief of Others (2015)
While the subject matter...amounts to standard fare, audiences can all the more appreciate the thoughtful rigor applied by a team of artists working from page to screen.
Monkey Kingdom (2015)
Assess to what extent we're witnessing man-ufactured monkey life...[or] just pay no attention to the men and women behind the curtain and simply enjoy the underwater photography of monkeys swimming.
While We're Young (2015)
The obvious shots at hipster scenes...eventually sour into a complex critique of modern ambition in a changing cultural landscape.
The Longest Ride (2015)
A Nicholas Sparks movie is like cinematic Jello. It sells well, the number one ingredient is sugar, and there's always room for it.
Woman in Gold (2015)
Corny, commercial, predictably platitudinous, and tear-jerkingly weepy...also an inevitably thought-provoking dramatization of facing the "ghosts" of the past on an individual level and a national one.
Winds up sawing logs...instead of locating hard truths of the human condition,
lumbers through the motions.
Another conspicuously packaged product seemingly designed to wear down an audience more than entertain it. While wee ones won't notice, they probably won't remember
by the time the car ride gets them back to the real thing.
Lean, mean...Director Yann Demange and screenwriter Gregory Burke (the prominent Scottish playwright of
) twist the knife by serving Gary with constant reminders of boyish innocence corrupted...
A lavish, classy affair...But while long on beauty, Branagh's film falls short on whimsy...[and] the film's most affecting emotional moments...stand apart from the story's central conflict.
What We Do in the Shadows (2015)
Taps a fresh vein of humor to transfuse the horrific and the mundane.
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