Watching its protagonist, a filmmaker (Ben Stiller) who’s spent the past decade struggling to complete his latest effort, it’s hard not to think writer-director Noah Baumbach waited too long to release “While We’re Young.”
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If you want to enjoy “Furious 7” — and by all rights you should; it’s a silly good time — you can’t question it, and you certainly can’t fight it. Much like a skid, your only hope is to steer into the lunacy.
As a statement on America’s racial divide, “Get Hard” is every bit as confusing and ineffective as Starbucks having its baristas write “Race Together” on your triple venti soy no foam latte.
It has all the trappings of a great action movie.
Stop me if this sounds familiar: Liam Neeson portrays a seasoned killer who wants a better relationship with his only child, so when bad guys come after that child, he won’t stop shooting people until the threat is eliminated.
The greatest thing that can be said about “The Second Best Exotic Marigold Hotel” is that it’s once again cause for a long underserved segment of the moviegoing audience to enjoy a night — or, more likely, an afternoon — out.
The con artist tale “Focus” is witty, charming and so sexy it makes “Fifty Shades of Grey” feel like a two-hour cold shower.
We’re not even two months into 2015, and the new year already has yielded its own subgenre of films: the Kevin Costner Doesn’t Understand Minorities movie.
Guys, here’s the best possible advice I could give you for your Valentine’s weekend moviegoing:
In “Jupiter Ascending,” humans are harvested like crops, one planet at a time, so their cells can be used to rejuvenate the members of an intergalactic ruling class, allowing them to measure their life spans in millennia.
It’s the prestige film the awards season forgot.
Toward the end of “The Boy Next Door,” the toddler behind me started getting fussy.
Chris Kyle doesn’t deserve a movie. He deserves a monument.
You don’t watch “Inherent Vice,” writer-director Paul Thomas Anderson’s hippie-noir take on that confusing maelstrom between the end of the ’60s and the start of the ’70s, so much as you let it wash over you like the smell of patchouli.
Universal first tried to tell Louie Zamperini’s incredible life story in 1957, with Tony Curtis in line to portray the Olympian- turned-war hero.
Thankfully, director Peter Jackson saved the best for last, because the greatest thing about the first two installments of his “Hobbit” trilogy was the menu they inspired at Denny’s.
I hate sounding like a literary snob, especially considering how infrequently I read. But when it comes to “Exodus: Gods and Kings,” which chronicles Moses’ leading 400,000 of his fellow Hebrews out of captivity, the book was better.
If any romanticized notions of frontier life survived this summer’s “A Million Ways to Die in the West,” they die with their boots on in “The Homesman.”
Even as a child, I knew the world contained a vast array of swear words, each with its own subtle nuance.
The latest chapter in the Katniss Everdeen saga is, by necessity, a very different movie from the first two installments. But much of “The Hunger Games: Mockingjay — Part 1” is so bleak, it makes the days when the blockbuster franchise was just about teens and tweens forced to slaughter each other seem positively carefree.
Gun to my head, I couldn’t tell you what Freddie Mercury was singing about in “Bohemian Rhapsody,” but I still like the song.
“Nightcrawler” may be the fall’s ultimate Rorschach test.
If there’s one criticism of “St. Vincent,” the dark comedy in which a timid 12-year-old boy (Jaeden Lieberher) strikes up an odd friendship with the curmudgeonly misanthrope (Bill Murray) who lives next door, it’s that anyone who’s ever seen a movie has a pretty good idea where it’s going to end up.
Is it fair to knock a movie for a flaw you didn’t realize was there?
Believe it or not, there are some unpleasantries involved in watching movies for a living.
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