Latest Theatrical Reviews
Super 8 (2011)
Let's be honest: the b.s. sci-fi plot is so much empty machinery, which becomes steadily more apparent as the film wends its way toward a heavy-metal climax that's narratively and emotionally questionable.
The First Grader (2011)
The weakness of the film is in its blandness of character and obviousness of storytelling: it’s all kept storybook simple...
The Double Hour (2011)
The ostensible genre elements that seem to pitch
The Double Hour
somewhere between crime film and ghost story begin to look like the stuff of an allegory about modern relationships and the fright of commitment.
Kung Fu Panda 2 (2011)
Agreeable enough fare for families craving a little action, comedy, and action-comedy.
Meek's Cutoff (2011)
An existential nightmare of maddening uncertainty, a notion only emphasized by Reichardt’s commitment to ambiguity.
Clobberin’ action, a touch of ’50s sci-fi, and a heaping portion of titan-clashing theatrics spell something a little different for the comic-book movie.
POM Wonderful Presents The Greatest Movie Ever Sold (2011)
As a fast-food pitchwoman once asked, 'Where’s the beef?'
Despite its exotic setting, the personal connection of Rio-bred director Carlos Saldanha, the odd eye-popping sequence, and a lot of literal color, the new CGI-animated
turns out to be figuratively colorless.
Diary of a Wimpy Kid: Rodrick Rules (2011)
A quickie sequel to a film released only last year,
Diary of a Wimpy Kid: Rodrick Rules
surprisingly improves on its predecessor.
The Music Never Stopped (2011)
Skews to fantasy over fact, but when it blinks at you with those puppy-dog eyes, just see if you don't sniffle.
The Adjustment Bureau (2011)
As interpreted by first-time director George Nolfi (screenwriter of
The Bourne Ultimatum
), Dick's story transforms into an endearingly silly allegory of the mysterious interaction of free will and fate.
I suspect the young'uns will...take a shine to the hero of
: a chameleon that's part Kermit the Frog, part street-corner kook (and all Johnny Depp, who supplies the often hilarious voice).
Even the Rain (2011)
Though obvious, Bollaín's morality tale dramatizes vital issues facing the global economy, forcing the audience to experience them on a human level.
The Illusionist (L'illusionniste) (2010)
Tati’s masterful mime easily inspires an animated treatment, recapturing his graceful comic body language and 'no subtitles required' international appeal.
Another Year (2010)
In achieving a credible realism, Leigh and his actors refreshingly avoid the tidy and obvious.
Barney's Version (2010)
is nothing if not a character study, Giamatti is the surly, sarcastic selling point.
The Green Hornet (2011)
Spews noxious gas and obnoxious patter.
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.
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