Frank Miller and Robert Rodriguez’s Sin City: A Dame to Kill For, as a movie, hardly does its job.
Magic and myth-busting are the stuff of Woody Allen’s latest film, Magic in the Moonlight.
The thing I always liked about Nickelodeon television, as opposed to its snooty, self-righteous cousin, Disney, was that it didn’t talk down to its audience, which is largely comprised of kids, the preteen sect.
Guardians is super fun, the soundtrack’s killer, the killer’s menacing, the hero’s heroic, the tree is the best part.
Dawn of the Planet of the Apes is every story.
David Wain brings his brand of off-kilter, super silly meta mockery to a more genre-specific place than usual with his spoofy romantic comedy, They Came Together.
It manages its sequelity (sequelness? sequelation?) like Muppets: Most Wanted did, banging you over the head with clever jokes about how movies are never as good the second time around.
In Joon-ho Bong’s Snowpiercer, by the year 2031, the earth has frozen over, and the world’s only survivors are packed into this technological wonder of a train that barrels around the globe in a constant effort to not freeze up and expire.
Adam Sandler and Drew Barrymore truly have something special when they step on screen together.
The new Godzilla is super old school, replete with dramatic close-up shots of the characters’ sheer awe and terror as they whisper the title of the movie.
For reasons unbeknownst to me, I had problems with both Seth Rogen and Zac Efron.
John Turturro wrote, directed, and starred in this Woody Allen-ish, lyrical, New York film, and Woody Allen acts, for the first time in a long time, in a movie that’s not his, presumably because it does so closely resemble his own.
"Darren Aronofsky’s Noah" is a pretty silly concept when you think about each part of that phrase.
The Muppet movie sequel, which isn’t really a sequel but another installment in a long line of Muppet movies, lets itself off the hook in the very beginning with a cheeky line in a song about how sequels are never quite as good as the original.
I tried, once or twice, to watch the Veronica Mars series when it aired and never got very far.
A classical concert seems to be a head-knockingly obvious setting in which to set a thriller.