‘Jack Reacher: Never Go Back’ is based on the 2013 book of the same name.
American Pastoral is the movie version of Philip Roth’s Pulitzer Prize-winning 1997 novel about the father of a terrorist.
The Ben Affleck-starring thriller finished first at the box office on its debut weekend, earning an estimated $25-million.
Denial pays a price for adhering to the strict truth, but there’s no denying its quiet, understated power.
And his latest concert film shows him not only doing stand-up, but accomplishing something no one has done before.
Like its protagonist, ‘The Accountant’ is all over the place.
‘The Girl on the Train’ is a boozy, suspenseful, character-driven mystery-thriller based on the page-turner of a 2015 best-seller of the same name by debuting novelist Paula Hawkins.
‘Girl Asleep’ is an unpredictable Australian comedy that thrives on its idiosyncratic quirkiness.
‘The Birth of a Nation’ is “only” marvelous, a powerful, mournful drama about slavery and systemic racism that is both admirably timeless and depressingly timely.
It works mainly as a showcase for the cast, who get laughs in the spots they try to, but who don’t exactly jump off the page.
The man-made-disaster docudrama focuses on the biggest oil spill – the worst ecological incident — in American history.
It’s a family-audience fantasy adventure about a teen named Jake, who discovers the abandoned orphanage that lends the film its name.
It sprawling western remake comes from director Antoine Fuqua, starring Denzel Washington, Chris Pratt, and Ethan Hawke.
Storks achieves liftoff, but then struggles with its own delivery.
Cheer or boo his politics, but give Oliver Stone his cinematic props.
‘Max Rose’ turns out to be an interesting but problematic movie.
With Hugh Grant’s Daniel Cleaver gone, what Bridget does this time out is become pregnant without being sure who the father-to-be is.
The ridiculously arbitrary narrative gets more preposterous as it goes along.
‘Sully’ is an unapologetically optimistic biodrama based on the uplifting story, dubbed “The Miracle on the Hudson.”
The Hollar family doesn’t do all that much hollering. But they find a way to put the funk in dysfunctional anyway.
‘Complete Unknown’ has more than enough “unknown” to intrigue from a distance. But would that it were more “complete.”
‘The Light Between Oceans’ is a good cry and an even better movie.
‘Morgan’ is a generic smorgasbord – a buffet of science fiction, horror, mystery, and thriller elements.
It’s a lovingly dark drama about the land of milk and honey that launches Natalie Portman’s second career.
In its own perverse way, ‘Don’t Breathe’ takes your breath away.
‘Hell or High Water’ is a crime-spree thriller about a pair of brothers, Toby and Tanner Howard, played respectively by Chris Pine and Ben Foster.
‘Florence Foster Jenkins’ hits just about every note just right.
It’s rare in the modern movie marketplace for the author of the book from a which a film emerges to be the most familiar name connected with the project.
But the movie, while not suicidal, is not good either.
Some might come into the film wondering why the subject deserves all this attention, but the film makes its case: what’s being celebrated here is somebody who absolutely pushed the boundaries of television and changed our culture for the better.