An exciting artist’s work is reduced to a very low-key and slow moving exercise that fails to capture the man’s spirit.
It’s mother-in-law vs. daughter-in-law, in this competent but ordinary British examination of the upper class in the early 20th century.
This ambitious redefinition of a franchise is also loud, clumsy and, in the end, doesn’t make much sense.
Along with the addition of Amy Adams as a spunky Amelia Earhart, moving the action to the Smithsonian (and ignoring any concerns about believability) brings this goofy sequel to life like a wax sculpture of Teddy Roosevelt.
It seems like yet another quirkfest straight out of Sundance, but it has a sneaky way of winning people over. You’ll see.
Boy meets girl, boy loses girl, boy stalks girl in this creepy romantic comedy starring Steve Zahn and Jennifer Aniston.
Olivier Assayas’ artsy family drama is easy on the eyes, but good luck keeping them open.
The team behind "The Da Vinci Code" returns to the ecclesiastic trough with this Vatican-based hooey that plays more like a Roman travelogue.
Michael Keaton returns after a very long absence but he would have been better served remaining hidden.
Smart writing, smart direction, and good acting. Don’t believe the marketing ““ it’s not your typical "drug comedy".
