Lots of movies are escapist in one way or another. This one, the true story of a Toronto woman’s battle with cancer, is just the opposite.
“Fading Gigolo” is an oddball absurdist comedy, a farcical cinematic doodle that takes a bite out of the Big Apple and finds it strangely tasty.
The summer movie season gets off to a low-flying start.
“The Other Woman” serves as a ferocious feminist fantasy devoted to the serial seducer’s comeuppance that’s sporadically funny, but not nearly as funny or pointed or mature as it thinks it is.
Although the subject matter has import and gravitas, much of the donning-Nazi-costumes and narrow-escape footage registers as much less than convincing, sometimes presenting a level of broadness that recalls “Hogan’s Heroes.”
The Railway Man is an earnest, intense drama about the torture of a British Army officer at a Japanese prisoner-of-war camp during World War II, and the victim’s vengeful confrontation with his torturer half a century later.
It’s another science fiction thriller that’s awkwardly big and clunky instead of attractively modest and spunky.
Scarlett Johansson’s last movie was Her and all we got was her voice. We never saw her. Her latest might have been called She. Or, possibly: It. And we always see her.
If it doesn’t quite feel heaven-sent, it at least boasts elements that approach heavenly.
This grim, character-driven drama goes completely bonkers and hyper-gothic in the late going.
The narrative is carefully structured to include an appropriate payoff, but along the way is feels strangely and surprisingly farfetched.
‘Rio 2′ is not the triumph its predecessor was. But if the sequel is not quite the equal of the original, it’s in the ball park.
It plays like conjured movie-movie behavior that couldn’t possibly happen in real life. Even though it did.
Think of him as an analog operative in a digital universe, an old-fashioned superhero in a new-fashioned world, a square peg in a roundup of the usual suspects.