Much like the misguided nature of Pixar’s ‘Cars,’ which focused on adorable fossil fuel consuming main characters while we were in the midst of a global gas crisis, ‘John Carter’ seems absurdly blind to the world into which it’s released.
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‘Jack and Jill’ might have been silly fun, like so many of Sandler’s films. Instead it will just leave you pondering how it all went so wrong.
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Studio Ghibli releases ‘The Secret World of Arrietty’ this weekend, and with it Hayao Miyazaki continues his string of well-crafted and thoughtful animated films.
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In ‘Pina,’ director Wim Wenders creates a visually impressive and emotional driven showcase of choreographer Pina Bausch’s work, and allows the dance and the visuals to speak for themselves.
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‘The Woman in Black,’ pits a partially matured Daniel Radcliffe against a maleficent spirit bent upon making an entire village childless.
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Albert Nobbs, a passion project for actress Glenn Close, was consistently overlooked or left unfunded for years and only through her tireless struggle has it finally made it to the screen.
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‘Shame’, director Steve McQueen’s sophomore feature, tells the story of Brandon, a New York advertising exec and sex addict, whose wayward sister, Sissy, threatens to destroy his world’s delicate balance.
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Dee Rees crafts a script and film that is filled with vibrant characters and exciting visuals, and Adepero Oduye brings Rees’ main character, Alike, to life in ‘Pariah.’
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‘The Iron Lady’ could have been been unbridled Oscar bait, but devolves into a disastrous mess of misguided direction.
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Trey Hock’s take on the best films of 2011 shows that even in a bad year for film there can be at least 10 standout motion pictures.
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Usually once a year a film comes along that I find utterly despicable. These films usually come from exceptionally talented directors, and are so manipulative and ridiculous that they show an utter disdain for the audience.
‘War Horse,’ the newest of these films, has arrived.
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For Good or Ill, ‘Sherlock Holmes: A Game of Shadows’ is Guy Ritchie at his Guy Ritchie-est.
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When it’s at it best, ‘Like Crazy’ explores the awkward, impulsive and wonderful parts of being in a youthful love affair.
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At times compelling, at times utterly ludicrous, ‘The Skin I Live In’ always gives us something eye-catching or stomach-churning to watch.
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Director Sean Durkin uses shallow depth of field in an attempt to accentuate the psychological claustrophobia that Martha feels. Instead he manages to distract from Elizabeth Olsen’s stellar performance and detach the viewer from the emotional content or a genuine understanding of a well developed character.
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