David E. Talbert’s frenetically unfunny comedy about two losers who attempt to rob a church. Doesn’t have a prayer.
Eric Leiser, director, writer, funeral director etc., brings us his dreamlike something or other that means something or other.
Ang Lee switches from extreme male bonding to war, intrigue and extreme heterosexual bonding, at least from a physical standpoint.
Respectable attempt to revive these two flagging franchises fares only slightly better than its predecessor, but still fails to generate an ounce of suspense or thrills.
Almost unconscionably lousy sequel to 2004’s equally bad Dan Brown rip-off is only made worse by its staggering waste of talent.
The latest London-based Woody Allen movie is marked by Colin Farrell’s best performance in years, and a sluggish, predictable script that covers some familiar crimes and misdemeanors.
Pleasantly spooky debut from director Juan Antonio Bayona proves that even the oldest horror movie clich??s are still effective in the right hands.
Mike Nichols’ cheeky film about the Texas Congressman who helped fund the Afghan army tells one side of an important story. And it tells it well, thanks to an A-list cast and Aaron Sorkin’s typically zingy script.
Paul Thomas Anderson’s overlong Upton Sinclair adaptation is nearly worth seeing solely for Daniel Day-Lewis’s unforgettable performance. Nearly.
In Rob Reiner’s first tolerable (read: not excruciating) film in eons, Jack Nicholson and Morgan Freeman play two cancer-struck men who get busy living in their final moments.
