Nolan's ingenious film never loses its ability to surprise and contains one of those overwhelming visual moments that become iconic -- like that first shot of Darth Vader's spaceship in the first Star Wars.
Unfortunately, The Sorcerer's Apprentice wants to be a 21st century version of Ghostbusters, with ancient spirits and magic and the wisecracks and hilariously deadpan mentor with his panicked young student.
For a movie like Predators, you don't need a deep script -- just one that understands how to make people laugh when it's not making them scream. Unfortunately, Predators doesn't do much with any of those elements.
Harry Brown is hard and violent, a thriller that makes no pretense about the explicit toll of violence. But it's built around a strong character and an award-winning kind of performance by Michael Caine.
Even as he approaches 50, Tom Cruise broadens his range -- maybe not to a Cary Grant level of charm, perhaps, but certainly to something a lot less determined and disciplined than usual: something that approaches actual goofiness.
Neil Labute's remake of Death at a Funeral is virtually a photocopy, in terms of the story it tells and the comedy beats it hits. Yet everything in this version is coarser and more obvious, aimed at a lowest-common-denominator audience.