While Melissa McCarthy just may be the best working comedienne today, her work with Paul Feig is much stronger than THE BOSS. As with TAMMY, some of her hilarity and brilliance is lost with the mediocre movie surrounding her. You're sure to laugh - even if you can't help but want more.
It's fascinating to see Steve Martin show off his dramatic chops - it ain't half bad either. SHOPGIRL is smart and clever; however, not always as romantic as it hopes to be.
Put Terrence Malick together with Chivo--you having yourself a visually stunning film. There's no question there. However, film is often times much more than a visual experience. With little plot addressed, you'll find yourself entering an all-too-interpretive world. You're bound to be lost - and it isn't worth it for Malick's weakest film to date.
Like many other female-driven comedies today, HOW TO BE SINGLE aims to be something greater than a simple comedy. It falls flat repeatedly in its attempt to grow deeper than it is. Rebel Wilson's hilarious performance steals the show - that's where they should've focus their efforts. More screen time for Rebel.
Just as many Coen Bros. films, HAIL, CAESAR! is funny, genuine and nothing short of an exciting glimpse into Hollywood during the Golden Age of cinema. The film consistently references the past - if the jokes go over your head, this may be why. Overall, gorgeous looking - and a heck of a cast.
Death Proof: It may not be Tarantino's finest piece of work - but it is one hell of a ride once it picks up speed. The first act requires patience, but fully prepares you for the brilliant second sequence.
Those less familiar with Milgram's experiments are bound to find this adaptation much more mesmerizing. It's fascinating - but the execution is occasionally questionable.
Spearheaded by two formidable performances from Ryan Reynolds and Ben Mendelsohn, MISSISSIPPI GRIND is an unusually simple film which aims to either provide a lesson or encourage risky business. Regardless of the filmmakers desired takeaway, it’s emotional, violent and certainly digs deep.
One of the best opening sequences—and surely the most expensive—of any 007 film. Unfortunately, somewhere after the first 15 minutes, the film loses its footing and never recovers. Perhaps it’s the missing Judi Dench. Or, possibly, the lack of screen time for a wonderful Christoph Waltz. Nevertheless, something isn’t quite right in wake of the brilliance that was SKYFALL in 2012.
In the most simple sense, THE GOOD DINOSAUR is a reworking of THE LION KING—only this time with dinosaurs and without its tremendous music and originality. Just as any Pixar film: its story and characters are lovable. Unfortunately, this tale is missing some of the enthusiasm more prominent in its predecessors.
Between Alejandro G. Iñárritu and Chivo Lubezki, THE REVENANT is one of the most visually striking masterpieces of the 21st century. The spectacle does not end at visual storytelling—but continually astounds audiences with its tale of survival and revenge. The filmmakers chose not to sugarcoat the wilderness of the 1820s, but rather vividly show its extreme brutality and rawness. Above all, Leonardo DiCaprio gives the finest performance of his career – to finally, hopefully, secure his well-deserved Oscar.
Immortality and romance are no strangers to the screen. When combined, they become some of the most frequently told stories. THE AGE OF ADALINE manages to transcend these tired plots and films – with something much richer, much more satisfying. Anchored by a career changing performance, Blake Lively breathes life over and over into Adaline. It’s a ride worthy of the years Adaline lives in immortality.
Above all, SUFFRAGETTE means to finally give strength to women looking to earn their rights to vote. They become heroes. The leaders of this charge in early-20th century Britain are Carey Mulligan, Helena Bonham Carter and Meryl Streep. Each is exquisite and brilliant in their own way. Unfortunately, somewhere between the direction, Abi Morgan’s script and an abrupt ending, it falls flat.
In his directorial debut, Joel Edgerton crafts a thrilling mystery which dives into a deeply provocative but subtle game of cat-and-mouse. It has been done in some ways – but THE GIFT has more than enough surprises to keep you intrigued.
Just as the film’s protagonist, I LOVE YOU PHILLIP MORRIS is passionate to the very end. Full of emotion and an occasional laugh, Jim Carrey gives an unusual look at an astonishing entrepreneur and frequent prison inmate in love.
Following in the footsteps of many Pixar films before it, INSIDE OUT takes incredibly remarkable animated and chooses to teach its audience something about life. It’s funny, intelligent and will keep you thinking long after it comes to a close.
TRUMBO features the likes of many of cinema’s great screenwriters and filmmakers of the Golden Age of Hollywood. Bryan Cranston portrays just one of these screenwriters - who is ultimately blacklisted for involvement with the Communist Party. While Cranston’s performance is impressive, the film glosses over any meaningful or deep looks into Trumbo’s Communism. TRUMBO mostly fails to create the depth and fervor present in many of the classic films depicted.
It's no easy task to take on a controversial story such as the one told in SPOTLIGHT. Writers Tom McCarthy and Josh Singer, along with the entire cast, respectfully and passionately honor the real-life heroes and the victims of this disturbing time. SPOTLIGHT is a subtle, but detailed, adventure through investigative journalism with true dedication to share a story and passion worth telling.
Amidst several fast-paced action sequences are several dark, contemplative looks at the troubles in this African civil war and the young boy caught in the middle. Cary Joji **** artistry is impressive - but many of the sequences feel unnecessary to the brutal story being told.
You'll find yourself lost in Charlotte Rampling's eyes. She portrays a lifetime worth of memories and with ease. 45 YEARS is subtle, but deafening. Looking back at 45 years and the choices made are no small feat.
In deep contrast with the gorgeous orange-colored skies throughout, TANGERINE is both gritty and raw. The misadventures of our two leads are unsettling and worrying - almost at all times. Its a simple film - shot on an iPhone 5s - but its heart isn't quite as simple.
Through the use of humor, entertaining explanations and over-the-top performances, THE BIG SHORT avoids becoming another dull look at the world’s largest financial crisis. Adam McKay and his bandits actually make it quite fun - while still recognizing the extreme fraudulences that occurred.
Moving on from George Lucas' saga and one of the industry’s greatest achievements is no small undertaking. Along with their many collaborators, J.J. Abrams and Kathy Kennedy have managed to exceed all of our expectations and offer something truly special to age old fans and new Star Wars lovers.
Quentin Tarantino’s THE HATEFUL EIGHT is not only awe-inspiring, it is a cinematic experience. For those lucky enough to see the 70mm roadshow release of the film, we see true appreciation for the art and execution of film. The story, the music and all of those involved are merely the cherry-on-top. Bravo!
In another collaboration with his muse, David O. Russell offers a unique look at a unique story. Despite another formidable performance from Jennifer Lawrence, JOY misses some of that flair seen in Russell's other productions. Still, the film’s atmosphere is enough to make this life’s journey an enjoyable one.
With a powerful aesthetic and a thought-provoking look at life, YOUTH is unusually stunning. Its grandiose cast soars above the Alps - and Jane Fonda will have you wanting more and more.
Falling victim to unnecessarily splitting its source material, MOCKINGJAY PART 2 feels much less satisfying than it should. PART 1 saw a strong build and continued interest, which was only occasionally reciprocated in the finale. Lawrence and the cast are strong as ever, but it's still disappointing.
Telling the tale of the world's very first gender-confirmation surgery is certainly no easy task. THE DANISH GIRL, whose production began before Tom Hooper's Oscar-winning THE KING'S SPEECH, is handled delicately but with the bold prowess needed. Eddie Redmayne transforms himself once again - with newcomer Alicia Vikander proving she is the latest of the great actresses of our time.
Breathtaking—every bit emotionally brilliant as it is visually stunning. Todd Haynes has crafted a masterpiece with the very capable help of Phyllis Nagy’s script - and two career-best performances from Cate Blanchett and Rooney Mara. With its against-the-grain subject matter and a sweetly, compelling love story, CAROL will go on to be one of the greatest romances.
Any film which takes an ordinary part of life and twists it into something unusual and fascinating is worth noting. THE FACE OF LOVE does just that - with intriguing and thoughtful direction from Arie Posin, Annette Bening soars as a grief-stricken widow in love.
There is no doubt BY THE SEA is a tremendous effort by Angelina Jolie Pitt to make something visually beautiful. Unfortunately, her ambition and lackluster script leaves the film testing our patience and for little reward.
DANNY COLLINS may succeed with the occasional heartwarming moment and a good showing from Al Pacino as the titular musician and flawed patriarch; however, the film falls flat when its shoddy script and predictability are brought together.
As this year's Sundance darling, I anticipated a much more meaningful look at adolescence and cancer. Instead, we're left with this bland cancer dramedy which uses the subject matter less effectively than last year's FAULT IN OUR STARS. The undertones of Wes Anderson and John Hughes are pleasant - but the film is missing the heart which those films typically depict.
Sarah Silverman immersing herself in a dark and mentally un-easing role is unusual, but she's every bit convincing. You'll be left swollen and wounded - by Silverman's devastating performance. The rest would be nothing without her.
ROOM is an eye-opening revelation into ourselves and to the world around us - no matter how big or small it is. A triumph on many levels: Lenny Abrahamson's meticulous direction coupled with Emma Donoghue's fine screen adaptation will move you to tears. Most importantly, two stellar performances from Brie Larson and Jacob Tremblay make us believe, and that's quite possibly the most important part of any film.
STEVE JOBS is not a biopic. Instead, together with Danny Boyle, Aaron Sorkin has written the trials and tribulations of Steve Jobs’ life over the course of three separate technology launches. Michael Fassbender recreates the genius of Steve Jobs - and allows him to finally be humanized along with all of those who were around him.
Suffering only from the occasional lull, SICARIO is wholly thrilling and features more than one exceptional sequence of events. Emily Blunt proves her chops once more - again, in a well-crafted action thriller.
Through all of Ridley Scott’s adventures into space, never has he been able to create such a vivid masterpiece as THE MARTIAN. It’s the type of epic, space opera that will keep us thinking about it for years. As Jessica Chastain commands the screen once more, Matt Damon finally reminds audiences of his immersive acting skills.
There are far worse premises for a blockbuster action film. But when you mix it with mostly shoddy special effects, god-awful dialogue and some very questionable acting... you have another disappointing Dwayne Johnson film.
Admittedly, based on the trailer, I had very low expectations for THE INTERN. Nevertheless, it's hard to turn down a Nancy Meyers flick. The film starts off in regular fashion - and proves to take turns and make new, insightful looks at relationships and the world today. Anne Hathaway and Robert De Niro are oddly and surprisingly very compatible - making a very meaningful dramedy through the eyes of one of the greatest female directors today.
Despite ample potential from writer/director/producer Cameron Crowe and a formidable cast, Aloha is largely unfocused and continually falls flat. The Hawaiian themes, insights and heritage are fascinating, but they are minuscule in comparison to numerous other pointless storylines.
Everest is able to more than adequately balance the thrill and devastation on the mountain with the heartbreak of families thousands of miles away. Don’t be fooled by the ensemble cast, each member packs a punch.
Somehow, after an extraordinary 40+ year career, Blythe Danner finally takes on her very first leading role--a debut leading role which may even land her an Oscar nomination. As a widow in her 70s, Blythe evokes a specific charm that draws us in and brings the emotion out in us all. Together, with her friends and new lovers, our eyes open to a world of possibilities and love along with her.
A story that has become all too familiar - unhappy man looking to wander and find his own happiness whilst finally coming out. The writing seems to keep Nolan more buried than to elevate him and this drama. Fortunately, Robin Williams gives his all in his final dramatic performance - a performance of many intricacies which he has mastered.
On paper, Paul Weitz has created a “Grandma” - one that embodies a grandmotherly matriachal character as well as this devastating “anti-Grandma” persona. Through Lily, we are drawn to her honesty and her ability to recognize what’s right - even as difficult that may be. After all this time, Lily may finally get the Oscar win she deserves.
The best word to describe RICKI AND THE FLASH is “human.” It’s about chasing dreams (often more than one) and it’s about real life--family, money and what motivates us. As always, Meryl holds her own - delivering excellent vocal chops and another memorable character in Ricki.
With a more-than-satisfying screenplay, from Noah Baumbauch and his creative partner Greta Gerwig, comes a candid look at two women becoming sisters during early adulthood. The brilliant delivery of its actors, especially Greta Gerwig and Lola Kirke, is absorbing and hilarious.
As Americans, we have long been drawn to the concept of the end of the world. This time around, Roland Emmerich uses realistic themes from the Bible and tells a story of inter-changing lives throughout the world. There are memorable points; however, the film suffers from an extended run and should have been edited and reduced substantially.
While Helen's direction certainly needs work and continued practice, her writing boasts a strong effort - and her acting goes without saying as another fine performance.
The Guest is a seductive, enthralling thriller which feeds off of emotion and suspense. Dan Stevens, along with Maika Monroe, are well-cast and flourish.
