Latest Theatrical Reviews
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.
Remember Me (2010)
Only slightly edgier and no more sensible than a Nicholas Sparks story.
Saint John of Las Vegas (2010)
Conspicuously pointless...an underachieving comedy of awkwardness.
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.
Extraordinary Measures (2010)
Predictable and, in the end, embarrassingly sappy...[but] does touch on some interesting points about the ethics of drug trials and approvals, the entrepreneurial spirit, and the challenges of doing important work that isn’t a sure thing...
The Lovely Bones (2009)
It’s a mark of Jackson’s lack of restraint as a filmmaker that the mystery-thriller elements and fantastic visualizations overtake the domestic drama that is the novel’s true raison d’être.
The Imaginarium of Doctor Parnassus (2009)
Endearingly packed to the rafters with ornate anachronistic artistry, Gilliam’s
is a great place to window shop—and get lost for a spell.
Youth in Revolt (2010)
Call this one the thinking boy’s sex romp.
An Education (2009)
The film’s greatest strength may well be how Sarsgaard's David, in concert with Hornby and Scherfig, seduces the audience along with Jenny, promising the world and leaving temptingly unlocked a Pandora’s Box of social ambiguity.
Me and Orson Welles (2009)
Me and Orson Welles
would be unthinkable as a film; with him, Linklater’s delightful celebration of the arts turns out to be one of the season’s most surprising gifts.
The Road (2009)
A potent and distinctly philosophical morality play about human instinct, the moral cost of survival, and a father’s love for his child...
Red Cliff (2009)
In a wonderful evocation of the art of war, Woo not only recreates elegant troop movements but also stages a memorable scene in which...[two men of war], still wary of each other, bond over music as they play what becomes a conversational duet.
Precious: Based on the Novel Push by Sapphire (2009)
Gabourey Sidibe brilliantly embodies the understandably bitter Precious, who shares her heartbreaking despair through extensive narration.
Astro Boy (2009)
has in spades are energy, good humor, and the demolition-derby action of a superhero smash-up, reasons enough to recommend it to grade-school boys.
Cirque du Freak: The Vampire's Assistant (2009)
Gothic pop...a ripping yarn for the big screen...
Where the Wild Things Are (2009)
A fine conversation piece for gifted kids—assuming parents willing to talk to their kids about their feelings...also a fascinating psychological study for adults looking back on the roiling emotions of childhood.
The Boys Are Back (2009)
Mawkish...Owen is forced to go the sackcloth-and-ashes route with multiple crying scenes, conversations with a dead spouse, and overcooked scenes of despair, anger, and unfettered joy spent with troubled offspring.
The Invention of Lying (2009)
Succeeds in being a daring satire by positing Mark as a Messiah...It’s a shame that the comedy tends to be repetitive, and more funny clever than funny ha ha.
Love Happens (2009)
Pure Hollywood hokum, with plotting that’s practically impossible...graceless product placement, cutesy situations, and neatly tied bows.
At least 10% more exciting than correction fluid.
One senses Acker stretching his eleven-minute short rather than containing bigger ideas and characters who have taken on lives of their own:
too clearly puts style over substance.
Taking Woodstock (2009)
On balance...like Teichberg—takes after its immigrant American father, evincing a quiet humility in offering its rambling 'little perspective' of an emblematic happening that was almost everything it was cracked up to be.
It Might Get Loud (2009)
[A] sideways glance at the electric guitar by way of profiling three generations of guitarists: Jack White of The White Stripes, the Edge of U2, and Jimmy Page of Led Zeppelin.
World's Greatest Dad (2009)
An amusing, cynical black comedy about our national addiction to tragedy, and our commoditization of grief...
Inglourious Basterds (2009)
A whole lot of movie, but it’s also technically mature filmmaking to a thematically juvenile end.
Lorna's Silence (2009)
The Dardenne brothers have seemed infallible, but their signature style begins to show strain in
An admirable dramatic investigation into life with Asperger's and a story with the intelligence not to insult ours.
G.I. Joe: The Rise of Cobra (2009)
Very nearly everything that's wrong with Hollywood, but darn if it won't give an action-hungry audience its money's worth. It's ridiculous, it's stoopid, and it puts its planes in the air like it just don't care.
The Cove (2009)
Informative, exciting, and surprisingly emotional...its goal is to alert the world to the abuse and consumption of dolphins.
Julie & Julia (2009)
Together the film's parallel stories do make slightly more than the sum of their ingredients, cooking up undemanding summer fun.
In the Loop (2009)
With a bite that’s going to leave a mark,
In the Loop
is the year’s best comedy to date.
The Hurt Locker (2009)
With the help of a well-informed screenplay by journalist Mark Boal, Bigelow dispenses with the red-wire/blue-wire lies Hollywood told you and replaces them with a heady brew of documentary realism and action poetry.
The Girl From Monaco (a.k.a. La fille de Monaco) (2009)
The French comedy-drama
The Girl from Monaco
demonstrates how an excess of liberté and fraternité can be hazardous to the health, especially where there is an absence of egalité.
There’s still much to admire in the visual craft and offbeat cultural sampling Coppola heroically brings to a homogenized cinema, but
rides off the rails.
Public Enemies (2009)
True-crime story or romantic myth-making? This was the question I brought in to Michael Mann's
...and, though seemingly an either-or proposition, the question still on my mind when I walked out.
Doesn’t so much get anything wrong; it just fails to go oh so right.
Transformers: Revenge of the Fallen (2009)
Never in the field of blockbuster movies has so much been spent on so little.
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