Review: “This is the End”

I’m in a tight spot. I didn’t find “This is the End,” the new comedy made by Team Apatow without Judd Apatow’s involvement (Seth Rogen and Evan Goldberg directed and produced), to be particularly funny. But most people I know and respect—and the general public, if the “B+” CinemaScore is any indication—think that the movie

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Review: “Man of Steel”

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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Review: “The Internship”

There’s a scene in Olivier Assayas’ recent movie “Something in the Air,” about the youth culture movements in France in the years following the sociopolitically tumultuous Summer of 1968, in which a group of filmmakers premiere their latest activist work on Laos. Its conventional essayist presentation prompts an audience member to challenge, “Shouldn’t revolutionary cinema

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Review: “The Purge”

“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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Review: “Now You See Me”

Filmmaking and magic ask much the same thing of their respective audiences: we know they aren’t “real,” but we willingly pretend as though they are in order to engage our sense of wonder. Certainly, cinema is capable of leveraging such engagement to achieve a far greater impact on people than a simple card trick is,

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Review: “Fill the Void”

Now here’s something you don’t see every (or any) weekend at the movie theater: a film about life under an ultra-conservative religion (Orthodox Judaism), made by an adherent of said religion (first-time writer/director Rama Burshtein). Filmmaking is so heavily dominated by the secular left that even the most seemingly objective portrayals of these socially antiquated

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