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.
I would like to extend my arms out to Jill Soloway, writer/director of Afternoon Delight, and wrap them around her in the huggiest of hugs, for being the one to finally put Kathryn Hahn in the front and center spot in a movie.
District 9 is so good. So. Good.
In Blackfish, documentary filmmaker Gabriela Cowperthwaite exposes the long hush-hushed history of the effect of captivity on the behavior of orca whales at SeaWorld and other parks around the world.
Joss Whedon’s Much Ado About Nothing is a faithful farce, set in present day but textually and tonally all Shakespeare.