“Don Jon” is, on the surface, about addiction. But dig a little deeper and one sees that its true subject is honesty, the first casualty of addiction. Whatever one joneses for, is there a greater effect of getting a fix than than one’s temporary escape from reality’s unforgiving glare? Here, first-time writer/director Joseph Gordon-Levitt explores […]
“We’re the Millers” might be one of the best comedies of the year. I don’t write that as an endorsement of the film, but as a commentary on comedies. In no other genre is it so difficult to make a classic, while perhaps only horror films are taken less seriously by critics and the public.
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In “2 Guns,” a pair of mismatched lawmen find themselves trading bullets with bad guys and banter with each other, moving methodically towards a climax that sees nearly every character torn apart by gunfire. Does this sound interesting to you? I don’t ask ironically. This kind of plot holds an ample degree of appeal not
“Pacific Rim” belongs in a better summer for movies. At a time when virtually every would-be blockbuster release is a dreary franchise entry, when what were once dazzling special effects have been whittled down into the mundane, “Pacific Rim” does something enthralling. Here we have a movie heavily inspired by existing material but not a
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It would be difficult to tell a superhero origin story better than was done in the 1978 “Superman.” “Man of Steel” is a relentless attempt, one handled with an abundance of violence and characters but near complete lack of humanity. Before, Superman was the embodiment of decency, raised by two plainspoken, kind middle-Americans who imbued
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“The Purge” is a high-concept thriller with a low budget and an even lower amount of thought put into its plot. There’s potential in the premise, which allows for all sorts of bloodletting, suspenseful situations, and a healthy dose of political commentary, if that’s your thing. And it is writer/director James DeMonaco’s thing, though his
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“The Hangover” series has turned out to be a lot like the titular post-inebriation state. There was an initial burst of wild fun that has given way to hours of pain and suffering that makes you wonder if the fun part was worth it in the first place. It is clear now that the first
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“The Great Gatsby” is an emphatically faithful adaptation of F. Scott Fitzgerald’s novel not so much in plot, but in spirit. Writer/director Baz Luhrmann remains true to the text in terms that make its source material instantly recognizable: the 1920s setting, the cast of characters, the arch of the melancholy story. But it’s only by
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“Oblivion” is a movie certain to give you déjà vu, and not because that peculiar sensation is a plot point. This Tom Cruise vehicle sports a narrative that’s a blatant composite of countless other films, including but not limited to “WALL-E,” “The Matrix,” “Independence Day,” “Total Recall,” “Planet of the Apes,” and even director Joseph
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“G.I. Joe: Retaliation” has nary a single moment in its 110 minute runtime that doesn’t qualify as idiotic in some capacity. It’s yet another mega-budget film that serves as an assault on logic and realism, with each scene seemingly trying to top the previous one in terms of how ridiculous it can get. This process
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