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.
The Fifth Estate may fancy itself a cyberthriller, but the thrills are few and far between.
There’s nothing like a perceptive and endearing romcom to restore one’s faith in the genre, which is why it’s difficult to say enough about “Enough Said.”
They’re among the best lawmen who ever lived and died.
‘Chernobyl Diaries’ is an effectively creepy horror thriller, an intense exercise in terror.
The Raven flies in with an unabashedly farfetched and fanciful theory, a fictional account of what might have happened to Poe at life’s end.
The double-meaning title makes it sound like a movie about a childless person whose friends have children. But it’s actually a movie about friends who decide to have a child.
Here’s a sequel that’s pretty much the equal of its predecessor. That is not a compliment.
Call Chronicle an anti-superhero flick. But the level of entertainment that this modestly budgeted but cleverly resourceful science fiction thriller delivers is almost heroic.
Supernatural chillers about possession with the power disturb, like ‘The Exorcist’, ‘The Exorcism of Emily Rose’, ‘The Last Exorcism’, and even ‘The Rite’ rarely traffic in three-dimensional character delineation — and neither does ‘The Devil Inside’, which exhibits very little interest in the mother-daughter bond that is embedded in the film’s basic premise.
Spielberg tries not to overdo the self-conscious tear-jerking. He succeeds, but at a price.
Tintin is herehere. Finally. Of course, just how grateful each of us is about the arrival of The Adventures of Tintin will vary wildly.
Yep, director Martin Scorsese, for so long associated with dark crime dramas, delivers an ingenious and enchanting adventure about the early days of the movies. Not only is ‘Hugo’, ostensibly a kidflick, visually mesmerizing, it’s also an enthralling and moving tribute to film artists of an earlier era who worked in a kind of obscurity that modern major moviemakers like Scorsese have long since left behind.