After I saw 22 Jump Street, I noted publicly that, while it was funnier than 21 Jump Street, so was my root canal. (Although the latter did include laughing gas.) Still, the bar wasn't particularly high.
If you're keeping score at home, of the three Marvel comic-book movies so far this summer (a term I use advisedly for a season that technically doesn't start for another month), X-Men: Days of Future Past outranks Amazing Spider-Man 2 and is about on a par with Captain America: The Winter Soldier.
The set-up is a popular literary and cinematic plot contrivance: the switched-at-birth trope. But it is acted out in movingly stark relief in this story that also encompasses notions of nature-vs.-nurture, the distance between social classes and what fatherhood really means.
Walking With Dinosaurs, a 3D movie whose title suggests spending a day with the Republican leadership, is like a more expensive Land Before Time: bad writing, corny jokes and a weak (and familiar) plot.
The Incredible Burt Wonderstone is a movie for 8-year-olds who haven't seen a lot of movies and provide fresh eyes for its tired gags. Anyone older will see every punchline coming long before it arrives.
You get the feeling that Ruben Fleischer would have been happy to make an homage to the gangster movies of the 1940s (filtered through both a 1970s and a 21st-century perspective) when he was making Gangster Squad.
In a season that's packed with big-budget headline-grabbers, it's hard for a quiet but compelling film such as California Solo to get a little attention. Make the effort to find it; you won't be sorry.
It seems like an innocuous title -- until you realize (or learn) that The Manzanar Fishing Club deals with one of this country's most shameful chapters: the internment of Japanese citizens after the attack on Pearl Harbor.
It's hard now to conceive of just how huge a star Marilyn Monroe was at the peak of her fame in the mid-1950s. Take Lady Gaga, multiply her by Brangelina at their most visible -- and then take it to the 10th power.
This is one of those thrillers that relies on the unreliability of cell phones for suspense. It also layers on a testy relationship between a pair of divorced cops (Worthington and the ever-present Jessica Chastain) who are forced to work together.
How do you make a watchable Kate Hudson movie? By pretending it's a Kate Hudson movie, and then keeping her off-screen for great chunks of the film. That leaves more screen time for the utterly delicious Ginnifer Goodwin.