Latest Theatrical Reviews
Eat That Question: Frank Zappa in His Own Words (2016)
From the evidence of Thorsten Schütte’s found-footage documentary...Zappa saw the interview as sometime endurance test, sometime amusement, and all-the-time chess match he could never lose, played as it was against lesser lights.
Central Intelligence (2016)
Even if the material's not always up to the title's ironic reference to wit, the cast and their director carry the day with a good stock of laughs.
The BFG (2016)
Largely lifeless, which is unusual for fantasy material birthed by Roald Dahl or directed by Steven Spielberg, much less a combination of the two.
Finding Dory (2016)
If the plotting at first feels overly familiar (and, in many ways, is), its elegance becomes apparent in the reinvigorating final movements, which also confirm
's ultimate theme of building self-confidence through self-discovery.
The Conjuring 2 (2016)
When there’s somefin strange...in your neighbor’ood...’oo you gonna call?
Me Before You (2016)
The sort of film to starkly divide audiences: hard cases will wince at the clichés and Clarke’s performance; starry-eyed weepie fans will get what they came for.
X-Men: Apocalypse (2016)
For all its failings, including the crime of not being exhilarating,
remains a competent sci-fi actioner.
Maggie's Plan (2015)
A not-unpleasant 98 minutes that’s nevertheless understocked with comic zest and thematic incisiveness.
The Lobster (2015)
Investigates the nature of our need for a partner (who else will apply that pain-relief cream to the small of your back?), how we cling to superficial similarities to justify our matches, and our denial, at our peril, of our animal nature.
The Angry Birds Movie (2016)
Even though 'Anger is not always the answer,' sometimes it has to be, or there’s no movie, and here’s where
The Angry Birds Movie
will divide audiences.
Dark Horse (2015)
Osmond doesn't belabor style in any way, opting to shape the story simply and directly through the new interviews, available archive materials, and efficient montage.
The Man Who Knew Infinity (2016)
Can repeat its formula by rote, but develops no breakthrough theory of its own.
The Meddler (2015)
A delightfully humane comedy...doesn’t insist upon the meddling as a 'premise' but as an important part of the film’s psychological reality.
Tastes awfully stale...those with a high tolerance for 'nice' movies will happily roll with this
. But know that it is proudly unsophisticated in its storytelling.
Elvis & Nixon (2016)
A story of great power and great delusion, of the absurdities of politics and the strange effects and arguably undue reach of celebrity. These potentially heady themes are really beside the point of a movie that’s a hoot and knows it.
Miles Ahead (2015)
Not everyone will agree with how Cheadle answers the key questions, but only a fool would say his take lacks creativity, heart, energy, and a gutsy willingness to take risks (as Davis says in the film, 'Be wrong strong').
The hero of the new dramedy
at one point muses, 'For some reason, everything’s becoming a metaphor.' Boy, you can say that again.
Everybody Wants Some!! (2016)
I Saw the Light (2015)
It’s all so dully realized that we grow starving for idiosyncratic detail, desperately latching on to Williams’ love of ketchup or his drunkenly being tickled pink by his new garage-door opener.
Batman v Superman: Dawn of Justice (2016)
[SPOILER-FREE REVIEW:] This is not a drill, comic-book geeks.
Knight of Cups (2015)
For all its thrumming profundity...has just as much sleepwalking self-parody: all of the actors’ pacing and arm-flapping and gazing off into the distance suggests, as much as an art film, the world’s longest prescription drug commercial.
Hello, My Name Is Doris (2015)
Unlikely as it may be, the relationship begins to seem as plausible to us as to the willfully optimistic Doris, which is a testament to the performers transcending the script’s default mode of condescension.
10 Cloverfield Lane (2016)
Essentially the picture is one tease after another, misdirecting as fast as it can and amounting to the 'Emperor’s New Clothes' vacuousness of mid-period M. Night Shyamalan.
Whiskey Tango Foxtrot (2016)
This feminist war dramedy...is a vanity project done right.
Embrace of the Serpent (2015)
Offers different angles on the Amazon, its people, and white interlopers...the subtle shift of focus from the white explorers to the native guide allows both a welcome political correctness and a depth of sadness that, for once, isn’t once removed.
Boy & the World (2013)
Kaleidoscopic in its opening up of brilliant color and of the troubling interaction between corporate “people” and flesh-and-bone people, between the environment and civilization.
Near-total lack of narrative tension...Competent acting and direction handily stave off artistic disaster, but
has been constructed not so much to inspire as to renew the already faithful.
Zoolander 2 (2016)
A goofy gag machine that will raise smiles for some and make others just plain gag.
May not be wildly fresh, but it does wriggle against its genre straightjacket, and if it doesn’t quite escape, it puts on a great show in the process.
The Oscar® Nominated Short Films—Live Action and Animated (2015)
The 88th Academy Awards® ceremony airs on Sunday, February 28, 2016…now you have another way to get ready.
45 Years (2015)
Implications, about the long odds for romance, the deeper psychology of mating, and the devastating possibility that love isn’t an absolute but a willful, occasionally mutual, delusion.
Ride Along 2 (2016)
All the blithe sexism and tin-eared comedy of a Michael Bay movie and none of the budget excess...gives new meaning to 'lazy.'
Yet another midlife-crisis white guy on the big screen...but it’s undeniably an artful rendering of the post-millennial man adrift, in search of any port than the one he’s made for himself.
The Revenant (2015)
A certain breed of film geeks will snap fingers in approval, but most viewers—having been pummeled into acknowledging the film's muscular 'greatness'—will feel little more than dazed, and ready more for a nap than a conversation.
Though everything around this resilient central figure is wan sitcom, 'Joy the Doer' provides a rooting interest potent enough to justify the film.
The Big Short (2015)
Elucidate[s] the fiscal rigamarole leading up to the bursting of the housing and credit bubble circa 2008, while also whipping up a palatable froth of cynicism and absurdity.
Star Wars: The Force Awakens (2015)
[SPOILER-FREE] Can be dimwittedly obvious and self-plagiarizing, with little of real-world consequence and less that’s new to say [but it's still] a fun-filled adventure at the movies...
For a long two hours, Sorrentino flatters old white men, devalues women, and annoys with his lush coffee-table-book photography as he plays his own 'Simple Songs' of frustrated old age and tantalizing youth...
Helgeland revels in the violence and depravity, setting a dubious tone that, in that final act, has as much of a struggle as Reggie in going straight.
In the Heart of the Sea (2015)
Depict[s] a writer’s process of scavenging and soul-stealing...[as well as] being “in the oil business” to the exclusion of morality and ethics, and with implications for the ecosystem.
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