Amy Adams is quite an actress. Excluding her forgettable role as the middle-nun in Doubt last year, Adams has turned in consistently compelling and nuanced…
Everlasting it may not be, but, at 131 minutes, Jan Troell’s new Swedish melodrama isn’t exactly short. It plods, and it does so while telling…
The International, the new thriller from director Tom Tykwer, could have been dismissed as an easy knee-jerk reaction to our current economic crisis, but the…
In Paul McGuigan’s dopey superhero techno-thriller, Push, the Asian mob bad guys’ superpower is screaming really loud. They would best be called “screamers,” but their…
Awarded the Palm D’or at this year’s Cannes Film Festival, Laurent Cantet’s fluid and free-form drama, The Class, commits itself to the natural, unaffected representation…
Thor Freudenthal’s Hotel For Dogs, based very loosely on a 1971 children’s book of the same name, succeeds at doing exactly what it wants to…
Call Ari Folman’s Waltz With Bashir — a compendium of recollections and remembrances of an old man (Folman), concerning the massacre of Lebanese citizens in…
David Fincher has always enjoyed taking on pretty extreme, often ambitious projects. He adapted Chuck Palahniuk’s novel Fight Club, a mind-bending thriller about secret underground…
What Woody Allen just doesn’t seem to get anymore — overlooking the fact that his dialog is basically paraphrased versions of the same stuff he…