“Get Low” is one of those “niche” movies that feature a cast warmly embraced by the aging Baby Boomers such as yours truly: Robert Duvall, Bill Murray, Sissy Spacek. How could it go wrong?
“Takers” is one of those high-adrenaline joy rides that’s both a good story and well-crafted visually. This one works, and it will do well at the box office.
This is one of those films that you’re rooting for to work really well, but it’s sort of a mixed bag, which is a shame, because it’s an inspiring true story.
“Animal Kingdom” has that gritty, hand-held camera feel of low-budget forays, and sure enough, we recognize hardly anybody on the screen, but all that anonymity somehow adds to the realistic dilemma of the main character: “J” Cody (James Frecheville), a 17-year-old who is having to grow up way too fast.
“The Expendables” is a really sad action/adventure movie, because it features a collection of old, over-the-hill tough guys who seem like stunted adolescents, unsure what to do with themselves except throw knives at dart boards, smoke cigars, drive loud motorcycles, and make fun of each other.
“The Switch” is one of those movies that appears to be a romantic comedy, therefore you go in expecting something kind of silly and predictable. Thankfully, it is neither.
I love it when filmmakers re-create the Roman era, complete with the togas, the chariots, the Greek-influenced architecture. Of course, many of the now-familiar Roman soldier outfits have been used to shoot films about the life and times of Jesus of Nazareth. But there are plenty of other locales and eras to consider as well: such as Alexandria, Egypt, in the 4th century.
Ryan Piers Williams, the writer and director of “The Dry Land,” is the “significant other” of America Ferrerra, so it’s not surprising that she would be a primary figure in his movie about post-traumatic stress disorder.
“Predators” is that almost-laughable sci-fi melodrama where everybody takes themselves so seriously it just begs for its own caricature. (But if they did a “Saturday Night Live” parody, would anyone identify the original?) It’s an interesting career turn for Adrien Brody, of “The Pianist” fame, who’s come a long way from pre-World War II Poland.
“Salt” is a throwback movie. Though set in the present, it hearkens back to the Cold War era, when the two world powers on the earth grappled clandestinely in the deadly, covert world of spy networks. The desperation is high because the stakes are ultimate: the threat of nuclear holocaust is imminent and pervasive.
Director Roger Nygard, besides working on television comedies like “Curb Your Enthusiasm,” has also given us “Trekkies” (about the extreme fans of the “Star Trek” series) and “Six Days In Roswell” (about UFO enthusiasts). So Mr. Nygard appears to have an affinity for showing us people’s heartfelt passions about the invisible, looked upon with an ironic air of comic absurdity.
Charlie St. Cloud (Zac Efron) is the kind of guy who looks like the world is his oyster: he’s handsome, charming, outgoing, and, in a coastal Massachusetts harbor town, a great sailor. He wins so many local races that he’s actually offered a sailing scholarship (do they even have such things?).
“Ramona and Beezus,” based on Beverly Cleary’s popular children’s book series, features a cute little ten-year-old named Ramona (Joey King, who’s perfect for the part).
“Restrepo” is the real-life war movie. It’s so raw and spontaneous that we can’t help but be moved by witnessing what it’s really like to be an American soldier in Afghanistan.
It is not too surprising that Hollywood would be on the vanguard of those advocating for societal acceptance of homosexual couples. After all, anything goes in Tinseltown, where hedonism is good publicity, and no marriages last for very long, anyway, no matter which genders are involved.
“Inception” is one of those clever, suspenseful movies that delight the sci-fi-techno crowd, but is truly frustrating to the more linear thinkers, who want their story lines clean, clear, and chronological.
“The Sorcerer’s Apprentice” may borrow from a lot of recent fantasy tales, but it’s kid-friendly, interesting, well-cast, and funny, which is a winsome combination for any movie.
“Winter’s Bone” is one of those slice-of-life films that transport the viewer to another place and point of view. It’s set in present-day rural Missouri, but it feels like the back-country Ozarks of another era.
Sequels are always more difficult than originals. What begins as a fresh idea becomes, in the re-warming, a kind of cinematic leftover. It just doesn’t tantalize the taste buds any more.
“Despicable Me” is the animated film whose plot is a mix of “Up,” “Scrooge,” and “Annie:” irascible old man named Gru (the voice of Steve Carrell) shows us how mean he is by driving a tank down the street and brushing other vehicles aside.
I saw this movie in the company of an eight-year-old boy, whose one-sentence review was, “Best movie ever!” Since he’s the perfect target audience, the following remarks should be taken in that context:
