Pitch Perfect hits most of the right notes, and because of this ends up being as smoothly enjoyable as anything currently playing in theatres at this moment.

There’s an important story lurking inside Won’t Back Down, but Barnz and Hill apparently weren’t the duo to tell it, the filmmakers failing their final exam so spectacularly they might as well have flunked right out of school.

Dredd didn’t do much for me, and while my final judgment is hardly as negative as it could have been, that doesn’t mean my passing of sentence labeling the film as forgettable is an endorsement people should purchase a ticket to see it in a theatre.

Early on House at the End of the Street had me intrigued. By the midsection I was completely captivated by it. But by the end? By that point I was ready to throw things at the screen and howl my disapproval at how wildly off the rails this Hitchcockian enterprise in suspense and terror had suddenly become.

I’m not entirely sure I’ve felt more kinship with a motion picture in recent memory than I have with screenwriter and director Stephen Chbosky’s stunning adaption of his own 1999 novel The Perks of Being a Wallflower.

I’m having a hard time trying to write a review of longtime Clint Eastwood producing partner Robert Lorenz’s directorial debut Trouble with the Curve.

Radnor has crafted characters who live in the real world and not in some fantastical juvenile celluloid fabrication of it.

Anderson’s Master an Enchanting Intellectual Banquet Paul Thomas Anderson’s The Master isn’t an easy sit. Its themes are all over the map, and what it’s talking about is purposefully vague. Most notably, it’s never a certainty whose story it is telling, three primary characters all competing for screen time with two of them sharing numerous […]

For as confident as Jarecki’s handling of it all might be, and as breezily paced as Arbitrage is, it’s just too hard to get past the inherent sense of dramatic déjà vu that permeates the production.