The Purge is a high-concept blunt instrument of a thriller, a movie that offers a straightforward set-up and few subsequent surprises. It does exactly what you expect and doesn't really go anywhere you don't assume it will.
I want to applaud Joss Whedon's Much Ado About Nothing for all the things it does right, and I will. But Whedon's side project -- between his various TV and Marvel-related entertainments -- gets one thing unfortunately wrong: It's never very funny.
I'm not going to do a movie review of the sleeper summer hit Now You See Me, and the less I tell you, the more that you will know about this magical movie, and why it annoys critics and delights audiences.
Geoffrey Fletcher's filmmaking debut, Violet & Daisy, is the summer's oddest, most original treat. Imagine a script by Quentin Tarantino, directed by Wes Anderson - and you have an idea of just how deliciously surprising this film can be.
Shown at Sundance under the title Toy's House, Jordan Vogt-Roberts' The Kings of Summer is a coming-of-age tale that touches a lot of bases and explores a variety of tones in ways that most films are too timid to do.
Fill the Void is as interesting for the things it doesn't do as for what it does. Written and directed by Rama Burshtein and set in the Hasidic community of Tel Aviv, it's a story about family and a sense of duty, informed by a devout faith.
I heartily endorse the original Hangover. Now we've got Part III. And yes, I recognize that the Roman numeral is meant as a joke -- but I have to point out that it's about as funny as many of the gags in this uneven and busy film.
Divorce is common enough these days that people are familiar with what an ugly and painful process it can be, which probably explains why most people wouldn't rush to see a movie about it in their free time
I often note how difficult it is to create a comedy that's not only smart and funny but also charming and surprising. But first-time director Craig Zisk, a TV veteran, has done that with The English Teacher.
If you haven't heard of Greta Gerwig, I think you'll be hearing a lot more about her very soon. She's the star and co-writer of Noah Baumbach's latest film Frances Ha, and she gives a performance so honest and relatable that directors will be scrambling to get Gerwig in their films.
Never a filmmaker for whom story seemed particularly important, Baumbach collaborated here with his star, Greta Gerwig, for what feels like an amorphous and fragmentary story of a delusional young woman who doesn't seem to want to grow up.
As Thursday night became Friday morning, Baz Luhrmann's vision began to grow on me. I left the movie with a new, sometimes forgotten, understanding of the novel. And so I'm here to defend Luhrmann's The Great Gatsby.
With a cast of largely baby-faced actors, Jay-Z as an executive producer, and a soundtrack weighted towards hip hop and electronic music, is The Great Gatsby more for younger fans of Luhrmann's more boisterous previous films like Moulin Rouge! and Romeo + Juliet?