Latest Theatrical Reviews
doesn’t seem to have much to say about all this sadness, except that death, like love, makes us want to be better people.
Rabbit Hole (2010)
The film’s impeccable emotional truth and delicate touches of black humor owe in equal part to screenwriter, director and stars.
feels like it’s made by the grandchild of Antonioni (and, in an artistic sense, perhaps it is). It’ll drive at least half the audience crazy, while the rest will walk out with a light buzz.
I Love You Phillip Morris (2010)
It’s funny because it’s true. That’s the idea behind the mad-love story
I Love You Phillip Morris
, which gets its kicks by being much stranger than fiction.
The Nutcracker in 3D (2010)
Vienna. The 1920s. Albert Einstein sings...a world of proto-Nazi space-ranger rats led by a nasty, singing Andy Warhol rodent. But I don’t have to tell you the beloved story of
The Next Three Days (2010)
Audiences may roll an eye here or there, but they're unlikely to lose interest in John's efforts.
Fair Game (2010)
Respectable but rather soggy.
With its one-track premise,
Zigs where other monster movies zag...a trip worth taking.
Inside Job (2010)
A cogent synthesis of the factors leading to, defining, and resulting from the global economic crisis of the last couple of years.
Tamara Drewe (2010)
Ever so charming...with some satirical snap to its characterizations.
The American (2010)
If it’s half-baked Italian modernism you’re after, you’ve come to the right place.
Cairo Time (2010)
The picturesque romantic travelogue...is as obvious but elegant as the bit of symbolism that ends it.
Animal Kingdom (2010)
A “human nature film,” a crime drama that observes cops and robbers in their natural habitat and studies their instinctual behaviors.
Nanny McPhee Returns (2010)
One is always in good hands with Thompson, even in this kiddie franchise...for the kids, there’s not only the sobering reminder that they're works in progress but also lots of...fairy-tale magic, with a touch of
’s farm charm.
Eat Pray Love (2010)
Julia Roberts and voluptuous production value contribute mightily to this ultimate of wish-fulfillment tales.
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.
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