Latest Theatrical Reviews
Get Low (2010)
A welcome late-career showcase for Robert Duvall...fits snugly into the traditions of Southern literature, particularly the tensions between gentility and eccentricity, the community and the individual, and man and God.
Middle Men (2010)
Gallo's self-consciously overstated direction feeds the impression that he's trying to remake
can we all agree by now that the use of 'Sympathy for the Devil' in crime pictures ought to be outlawed?
Dinner for Schmucks (2010)
A fairly typical Hollywood bromantic comedy in that one suspects that the improvisatory chops of its likeable star duo made them real-time script doctors.
Charlie St. Cloud (2010)
Nicholas Sparks-meets-Bruce Joel Rubin...The movie’s God talk (most of it coming from…Ray Liotta?) and blatant expression of theme through platitudes make this romantic melodrama as drippy as the St. Cloud boys’ eyes.
Perhaps its best that
keeps its ambitions humble, but a dearth of inspiration makes this fifth
film dangerously close to a rehash of the first.
Despicable Me (2010)
Weds a Charles Addams drollness to Looney Tunes one-upmanship.
The Girl Who Played with Fire (2010)
Lacking the psychological intimacy afforded by the page, Daniel Alfredson’s film won’t inspire better than a shrug from audiences.
Joan Rivers: A Piece of Work (2010)
Emphasizes the dog-eat-dog nature of show biz...[but fails] to illuminate, or apparently even investigate, the early source of its subject’s hungry void.
Solitary Man (2010)
Wry and melancholic,
as a character-study showcase worthy of Douglas’ ability.
Get Him to the Greek (2010)
Reaches its apex with a manic party scene that unleashes the full intimidation of P. Diddy and guarantees the phrase “stroke the furry wall” a place in the comedy lexicon...
Though the attempt is moody and earnest, I can't say that it's smart or memorable.
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.
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.
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.
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.
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