It's a feast for the mind and the eyes, with stunning special effects, dazzling use of 3D (seriously, go see it in 3D!), and a revelatory performance from a talented young newcomer to hold it all together.
Amazing. Joyful. Fun. Sad. Stunning. Rudyard Kipling's The Jungle Book directed by the talented Jon Favreau (Iron Man) will keep you enthralled from its very beginning in awesome 3D IMAX which makes the terrifying animals swing from the trees into your lap.
Tired of red carpets, awards shows, insulting debates, boring Town Halls and droning political pundits? Check out the newest incarnation of the Egyptian boy wonder at The Discovery of King Tut exhibit.
We take our mentors where we find them in life, though it's not always apparent who's teaching who. That's the case in Learning to Drive, a comic drama by Isabel Coixet that offers beautifully matched performances by Patricia Clarkson and Ben Kingsley.
This is a real "watch this, not that," segment this time. Self/less was the "serious" opening last weekend -- directed by overt stylist Tarsem Singh, starring Ryan Reynolds and Ben Kingsley -- and the worst sin that could be leveled at it was that it was kind of stoopid.
In the movie Self/less, a rich business man (Kingsley) is dying of cancer. However, he is able to prolong his "self" by transferring his consciousness from one body to another using a medical procedure called "shedding."
The idea of human consciousness going mobile is an intriguing one: What if you could actually trade minds with another person? That's the premise of Self/less, a disappointing mind-transfer tale notable for its performances if not its dramaturgy.
Ridley Scott is no Cecil B. DeMille. That's not necessarily a bad thing. What it means is that Scott's new epic Exodus: Gods and Kings is as much a product of our high-tech new-millennium era as The Ten Commandments was of the Eisenhower gray-flannel suit period.
Though none of us could ever truly imagine the trials Nelson Mandela faced or the suffering he experienced, a number of filmmakers have used the power of cinema to present a window -- however narrow and skewed it might be -- into that struggle, or one like it.
Hard enough bringing a science fiction novel as beloved, respected, and influential as Ender's Game to the screen. So it has to be said that director Gavin Hood has accomplished this not-inconsiderable challenge.