There's a potentially fantastic film in The Devil's Double, possibilities that are mostly squandered or confused. What could have been an immensely interest...
There is no period in American history as overblown as the 1960s. Stories about the era are told in hushed, reverent tones, as if the participants were myth...
Bellflower is a tough film to describe, which might exactly be its raison d'être. Nothing about it is expected. Take the premise, for example: Woodrow (writ...
Another Earth is a film that works better the more time a viewer is willing to give it. At first impression, it's an admirable experiment with some strong p...
I think Grouchy says it best during goodbyes with his human counterparts in The Smurfs. “I hated it so much … less than expected.” He then caps it off with,...
Chicago is plagued with a violence epidemic, a corrosive force infecting its inhabitants. Murder rates grow while a generation of young people disappears. C...
It is telling that there are five credited screenwriters on Jon Favreau's latest blockbuster, Cowboys & Aliens. Based on Scott Mitchell Rosenberg's comi...
No movie that has come out this summer has yet to rival the pure kinetic joy found in Attack the Block, Joe Cornish's British import from the Edgar Wright ...
The Future, Miranda July's follow-up to 2005's critically acclaimed, Me and You and Everyone We Know is aptly named. Much like the future, it turns out dim,...
Love can make you do stupid things. Love can drive you crazy. It can break your heart, make you better than you ever thought you could be, or be used as a...
