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.
If you are a human being with a heart, or even half of one, Disneynature’s Bears will make it fill up with love and warmth and rainbows and tears of wonder.
"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.
A classical concert seems to be a head-knockingly obvious setting in which to set a thriller.
It makes even less sense than you possibly thought it could.
The Monuments Men is filled with Goodman, but that wasn’t enough for this World War II flick.
Spike Jonze’s Her is at once timely and timeless.
In Nebraska, Bruce Dern inhabits Woody, an aging and increasingly defiant man who believes he’s won a million dollars when he receives a sweepstakes mailer.
Martin Scorsese decided a couple years ago, with Hugo, that from now on, he has to go big or go home.
David O. Russell gets a lot of things right.
"The Coen Brothers + folk music + New York City + winter" pretty much sums me up.
Ed. Note – This was supposed to go up a while ago so that’s why there’s some late references.
The Counselor views like a comprehensive "how-to" of writing a movie with dialogue and plot points so vague that the audience neither has any clue what is going on nor cares for any of the characters.
Prisoners is two and a half hours long, but it doesn’t get boring.
There’s something so campy and generally uncool about the Insidious films, and for some reason, that makes them absolutely great.