Bill Wine
Movie Review: ‘Peeples’
It’s a forced and clumsily broad comedy that somehow tries too hard and not hard enough simultaneously.
Movie Review: ‘The Great Gatsby’
Baz Luhrmann’s style of directing makes it that much tougher for any of the actors to really break through the hubbub. And, sure enough, no one does.
Bill Wine’s Summer Movie Previews
What do moviegoers have to look forward to (or, perhaps, in some cases, dread) through the rest of May and into June, July, and August?
Movie Review: ‘Iron Man 3′
The iconic character is back as the high-quality, high-profile franchise kicks off the summer movie season in high style.
Movie Review: ‘The Reluctant Fundamentalist’
The interviewee may or may not be a terrorist and the interviewer may or may not be a CIA agent.
Movie Review: ‘Arthur Newman’
It’s essentially a two-hander of a road trip flick, starring Colin Firth and Emily Blunt as two lonely and restless souls reinventing their lives.
Movie Review: ‘Mud’
Matthew McConaughey continues his career resurgence with another strong performance.
Movie Review: ‘The Big Wedding’
By the authority vested in me, I now pronounce “The Big Wedding” a bomb.
Movie Review: ‘Pain & Gain’
This movie’s attempts at slapstick are about as funny as a tax audit.
Movie Review: ‘The Company You Keep’
Director Robert Redford’s star-studded, thought-provoking political thriller (which he also stars in and produced) is yet another work for him to be proud of.
Movie Review: ‘Oblivion’
Video game shallowness is the order of the day despite Tom Cruise’s sturdy effectiveness as leading man.
Movie Review: ‘Scary Movie 5′
After thirteen years, the “Scary Movie” flicks comprise one sorry franchise.
’42′ Hits A Home Run At The Box Office
This weekend saw a new leader at multiplexes. ’42′ was a hit, appropriately enough, at the box office.
Movie Review: ‘Disconnect’
“Disconnect” is a loop of three interconnected stories, with the common denominator being electronic communications.
Movie Review: ’42′
Writer-director Brian Helgeland uses baseball as a metaphor for the United States and its segregationism of the 1940s.



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