While I’m sure younger kids might get a kick out of Hotel Transylvania, I can’t suggest families check-in at a theatre for a 90-minute stay.
Looper is Grade A sci-fi entertainment. Johnson’s film works, and like all great time travel epics, this is one adventure we’re all going to be thinking about far into the unknowable future.
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.
Cliché Curve Strikes Out at the Plate 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. Not because I don’t have anything to say, but more because the film is so gosh darn nice I feel sort of bad that […]
Radnor has crafted characters who live in the real world and not in some fantastical juvenile celluloid fabrication of it.