[Review] X-Men: Days of Future Past
The world that opens X-Men: Days of Future Past is a dismal, barren wasteland, stacked tall with the bones and corpses of extinguished super-beings while chamel...
Nathan Bartlebaugh
[Review] Locke
In Steven Knight’s Locke the whole wide world is reduced to the nighttime interiors of Tom Hardy’s car. For most films, this kind of gimmicky paring-down would ...
[Review] Million Dollar Arm
It’s likely that you’ll know well ahead of entering the theater whether or not Disney’s Million Dollar Arm is your kind of entertainment. The final product—a we...
[Review] Legends of Oz: Dorothy’s Return
Early on in Legends of Oz: Dorothy’s Return, our tornado-riding, dimension-hopping heroine realizes that the world she’s come back to is a very different, dimin...
[Review] Whitewash
The frozen, gray confines of a forest in Quebec become an unstable purgatory for hapless Thomas Haden Church in Emanuel Hoss-Desmarais' darkly comic Whitewash. ...
[Tribeca Review] Extraterrestrial
What is it about interstellar travel that seemingly halts an advanced species’ sense of sophistication? If Hollywood and the internet conspiracy cultists are to...
[Review] The Quiet Ones
It may be called The Quiet Ones, but the latest supernatural offering from revamped Hammer Studios is anything but. John Pogues would-be chiller may not raise t...
[Review] The Other Woman
The Other Woman is one of those lame comedies that pretends allegiance to the female demographic but spends most of its time toiling around in sub-moronic, play...
[Review] Brick Mansions
A few months back I was watching a small indie thriller called Hours, and was surprised with a personal revelation; I’m going to miss Paul Walker in the movies....
[Review] 13 Sins
How far would you go for the “right” amount of money?
The very rich preying on the desperation of the poor is obviously not a new concept in fiction, but rec...
