Oscar Isaac

Star Wars, at its best, explores these kinds of messy, difficult places in an arc mythic setting, better allowing us to delve into those emotional pits contained within us. Not this one.

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Annihilation is fun to look at and shows signs of promise early on, but once the shine wears off, it’s clear there’s no substance below the surface.

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The Force Awakens is an action film. It feels like Star Wars but it isn’t Star Wars.

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For months now, people online and off have been speculating, hoping, disavowing their interest in Star Wars: The Force Awakens. So with so much non-film related stuff swirling around J.J. Abrams latest installment of the Star Wars serial, how is one to offer any insightful critique of The Force Awakens?

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As a spectacle, as pure entertainment, The Force Awakens delivers. Its pace is near break-neck, but it rarely feels rushed. The climax manages to feel bigger-than-life and starkly intimate at the same time. And people will be talking about the movie’s big plot points for months.

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Ex Machina does what excellent science fiction always does. It uses the tenets of the genre to pose difficult questions about our human existence.

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J.C. Chandor’s latest feature film, A Most Violent Year, is being hailed by some as The Godfather for our time. This comparison may ring true, but A Most Violent Year lacks the emotional impact of Coppola’s masterpiece.

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The Two Faces of January brings three solid performances together to help a decent script turn into an hour and a half of quite entertaining film.

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The new film In Secret has a lot of things going for it, a great cast that features Elizabeth Olsen and Oscar Isaac, excellent art direction, and a script adapted from an Émile Zola novel. Yet for all of its apparent strengths, In Secret falls a bit flat.

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Joel and Ethan Coen return with their latest film Inside Llewyn Davis, which follows Llewyn Davis (Oscar Isaac), a brilliant folk musician, but miserable human who is struggling to live off of his music in New York in 1961.

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