Based on a novel by Chad Kultgen, Jason Reitman's Men, Women & Children is a multi-character film that wants to deliver a message about how our burgeoning electronic connectivity -- through phones and computers -- has actually distanced us from each other.
The Rise and Rise of Bitcoin is a movie that does a great job of explaining why Bitcoin is where it is today. It proposes that Bitcoin's journey has just begun, and that the fundamental building blocks will be far more disruptive for a long time.
The last time they worked together, Denzel Washington and director Antoine Fuqua conjured up Training Day. Now, the successful duo goes back to the well once more for another powerful and violent movie. Do they yield the same results?
There is always an audience for actors in late middle-age who know how to kick serious ass. Charles Bronson was 53 when he made Death Wish, Liam Neeson was 54 when he did Taken and Clint Eastwood was 73 when he did Gran Torino.
As so many unremarkable events pass by -- a graduation, family dinner, departure for college -- the subtext of the events comes to the foreground. We skip from day to day, event to event -- what is the point of it all?
They used to make films like A Walk Among the Tombstones on a regular basis: mysteries built around flawed heroes, in which character was as important as plot, and action was the catharsis, not the reason for the story itself.
Art and Craft bears witness to the stigma of mental disorders and the difficulty individuals with these illnesses experience in receiving treatment by others that is respectful, without blame for their condition or judgment of the way in which they present themselves.
Art and Craft is a potent title that can be taken in several different ways, in this fascinatingly complex and endlessly entertaining documentary from a trio of filmmakers: Sam Cullman, Jennifer Grausman and Mark Becker.
In Tracks, Mia Wasikowska plays a young woman who decides to do what no woman has done before her: She will walk halfway across Australia, beginning in desolate Alice Springs and traversing 1,700 miles of desert and wasteland, walking to the ocean on the island continent's west coast.
We talk about "Hollywood couples" whose relationship endured and I think the Takeis are among those. It is clear that they have been true partners on everything from caretaking for their mothers during their final years to George's career decisions.
The One I Love is one of those perfect indie gems you feel lucky for finding, and it's yet another example of how an interesting premise, real emotion, and a few great actors will trump big budgets, special effects, and star power every time.
For every flaw I struggled to find while I watched it with wide, wonder-filled eyes, each flaw was clearly justified. The only thing that bothers me is that if there is a sequel it will take at least 12 years before I get to see it.
While this picture benefits from motion-captured CGI portrayals of the titular teens that leap, twist, and bound through a digitally-created New York cityscape with unquestionable aplomb, it comes undone.
A one-star French restaurant distinguishes the village and draws diners from near and far. Madame Mallory (the regal Helen Mirren), a widow, rules the place with every detail of the restaurant and every hair on her head in place. She dreams of achieving a second Michelin star.