Kathryn Bigelow and Mark Boal return to the hard-nosed military genre with Zero Dark Thirty, a rare cinematic achievement.
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Print Reviews
With a cast that is solid, a script that is inoffensively simple, and production design that glows with neon saturated colors, there is no reason that ‘Gangster Squad’ should be this bad.
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Gus Van Sant’s ‘Promised Land’ takes on the environmental issue of fracking in the Midwest, but treats the characters as set dressing.
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‘The Impossible,’ based on a true story, offers gruesome and suffocating visuals, but often the film feels oddly sterile given its content.
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Because ‘Not Fade Away’ is more about intertwining themes than it is about obvious plot and conflict, it has energy—but it’s a melancholic energy. It revels in the mystery, appreciation, and ultimately creation of art—from a guy who was empowered and inspired by rock n’ roll himself.
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Hooper actively undermines what is powerful about the stage version of ‘Les Misérables,’ and doesn’t use his camera’s frame effectively to add anything of value.
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Judd Apatow’s latest film about age, parenting and everything in between features some bright spots, but is a flawed film overall.
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The 1980s smash-hit stage musical Les Misérables arrives on the big screen in a punishing movie adaptation from director Tom Hooper that may very well prove to be the “adult” equivalent of the Twilight series.
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‘The Hobbit: An Unexpected Journey’ could have felt like a visit from an old friend, but sadly it doesn’t.
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‘Hitchcock’ does a good job balancing the talented director’s obsession with the “Hitchcock blonde”, and Hitchcock’s growing insecurities with his wife’s possible affair and the increasing pressures of fully funding a film the studio has absolutely no confidence in distributing.
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Director Joe Wright finally makes the film he should have been making all along. ‘Anna Karenina’ is his best film yet, and may end up being his magnum opus.
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It’s been five years since writer/director Andrew Dominik made The Assassination of Jesse James By The Coward Robert Ford. And like that film, his newest offering, Killing Them Softly, is an allegory for the times we live in, and will likely be seen by no one. It’s also one of the best films of the year.
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Miami Connection is one of those rare films where the positive energy exuded by its oh-so-amateur cast and crew starts to rub off on you, despite the fact that almost all of the basic tenets of motion-picture storytelling are non-existent.
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The story centers around teenagers Diane (Temple) and Jack (Keough) who meet and share a rather tepid and unremarkable romance over the course of a summer.
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The new version of Red Dawn is an uninspired trainwreck — an incredulous plot mixed with a gritty attempt at character study, draped in the flag of simplistic patriotism that would make Michael Bay proud
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