Blythe Danner has spent the vast majority of her career acting in support of others or as an ensemble player. So it’s gratifying to see this luminous septuagenarian get top billing — and the romantic lead at that!
The targeted demographic is certainly Melissa McCarthy’s appreciative fans, but moviegoers steeped in the male-dominated superspy genre should be appreciative as well.
Aloha is a romantic comedy from director Cameron Crowe that boasts a come-hither cast but is burdened with a hither-and-thither plot.
It’s all about the special effects as the phrase “disaster porn” begins to rear its ugly head.
Lambert & Stamp is a documentary about the “fifth and sixth members” of The Who, the wildly successful rock band featuring lead singer Roger Daltrey, guitarist Peter Townshend, bassist John Entwistle, and drummer Keith Moon.
The director, Gil Kenan, might be a bit too hasty in getting to the effects-driven scary stretch in this redo of the 1982 classic.
‘Good Kill’ is a rugged portrait of drone warfare, set at the time that it dramatically expanded, in 2010.
Tomorrowland is an ambitious, visually arresting theme park of a family movie that has opened its gates a tad before it was ready, but with rides and attractions that will sweep the kids off their feet.
This sequel is another enjoyable musical comedy that hits almost all the right notes -– fewer than the 2012 original did, but enough to entertain fans of that film.
“It was hard to know who was more crazy,” the new Max intones in his opening voiceover narration. “Me, or everyone else.”
How can you write a movie about being in love when you’ve never actually been? That’s the problem facing Chris Evans’ character in ‘Playing It Cool.’
Neither of the leads comes off very well, they barely bond in any satisfying way, and we’re left to remember better work each has done elsewhere.
With film actors as dependable and effortlessly appealing as Morgan Freeman and Diane Keaton, we know we’re in good hands.
This daringly dark comedy calls for Kristen Wiig’s particular skills but grates and irritates to such a degree that it ends up seeming wildly self-indulgent.
This sequel is even more technically dazzling and visually arresting but not quite as surehandedly diverting and winning as its predecessor.