Jesse Eisenberg plays two roles, and looks the same in both. But the two personalities he brings to life are anything but alike.
Like most of its predecessors, it’s an involving and intriguing, visually arresting entertainment about mutant superheroes with astonishing otherworldly powers who are second-class citizens, metaphorically speaking.
It’s the problematic script that keeps Adam Sandler and Drew Barrymore’s third pairing from being the charm.
Jon Favreau wanted to do something a little different, so he cooked up “Chef.” Don’t show up hungry!
After a promising start and relatively absorbing buildup, the franchise reverts to form and the urban destruction special effects once again become the tail that wags the reptile.
The screenplay is anything but inventive, but it supplies a puppy-dog charm that’s tough to resist.
She was young, wealthy, and black. Her name was Belle. And British high society didn’t quite know what to do with her.
What we routinely accept in a “Three Stooges” short or a “Tom & Jerry” cartoon doesn’t necessarily cut it in a feature narrative.
With apologies to Mark Twain, the difference between the charm and artistry of the original movie and that of this animated sequel is the difference between lightning and a lightning bug.
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.