Truth be told, “After Earth” wouldn’t exist had Will Smith not cooked it up as yet another star vehicle for his son Jaden. But since buying your kid a movie credit is a tradition that dates back to the beginnings of Hollywood, you can’t hold that against him.
Admittedly, I have not seen any of the “Fast & Furious” films. They’re just not my thing.
Slow, sentimental and somewhat sedated, the third “Hangover” movie isn’t so much exhausted of outrageous “Oh no, they DIDN’T!” ideas as it is spent of energy. And the filmmakers knew it, too. The only raunchy moment is stuffed into the closing credits, a “we forgot to do that” afterthought.
Bad movies are rarely as much fun as these “Fast and the Furious” pictures. And make no mistake about it: They’re bad.
Director J.J. Abrams proved with 2009’s “Star Trek” that it is OK to boldly go where others had gone before, as long as the journey is exciting, original, entertaining and respectful to legions of loyal fans. His film, which found the balance between reprising and re-imagining, was a direct hit.
The third “Iron Man” movie, the finale to this trilogy of Marvel marvels, is the jokiest and cutest of them all. Iron Man/Tony Stark (Robert Downey Jr.) gets a kiddie sidekick, for Pete’s sake.
Writer-director Justin Zackham has one incredible asset at his disposal for “The Big Wedding”: an exceptional cast, which includes Robert De Niro, Susan Sarandon, Diane Keaton, Amanda Seyfried and Robin Williams.
“Oblivion” is the Frankenstein of science-fiction movies.
Director Danny Boyle has an eclectic body of work, from the ferocious zombies in “28 Days Later” to the fumbling drug addicts of “Trainspotting” to the life-affirming “127 Days” to the buoyant “Slumdog Millionaire” (for which he won a directing Oscar).
Earnest, righteous, historically accurate and often entertaining, writer-director Brian Helgeland’s “42” is pretty much all you could hope for in a Jackie Robinson film biography.
I think the new “Evil Dead” (which opened Friday) is the scariest movie ever — not because of the horror or the gore, but because it’s further proof that Hollywood is going to remake everything.
Sam Raimi’s 1981 cult indie-horror classic “The Evil Dead” and its smarter, cooler follow-up, “Evil Dead II” from 1987, are the Rosetta Stone for the hack-and-splatter crowd.
History says there are two ways for Hollywood to handle something like a G.I. Joe movie: Take a completely straight-forward approach, or make fun of the franchise with tongue-in-cheek satire.
The lines between Hollywood’s seasonal calendar are getting more blurred every year as summer blockbuster season starts earlier and earlier.
Many comic film actors specialize in larger-than-life characters. Tina Fey has made her mark in roles that are agreeably human-scaled.
An all-star comedy that leans on its stars to conjure laughs out of thin air, “The Incredible Burt Wonderstone” is about veteran magicians who find themselves suddenly less relevant when Mr. New and Edgy shows up and upstages them on the Vegas Strip.
There was a strange disturbance in the Force this week, as more rumors swirled around the new “Star Wars” film that has the genius temporary title of “Episode VII.”
In the movies’ version of March Madness, Sam Raimi turns out to be a much better Tim Burton than Bryan Singer. Unlike “Giant Slayer” Singer, Raimi’s got a sense of humor. Taking on a prequel to the fairy tale that frightened generations, Raimi does scary. And does it well.
In sports and the military, “professionalism” describes people who go about their work with a calm, dispassionate efficiency – no fuss, no panic when things go wrong, few mistakes, little attention paid to the odds or the chance for glory.
Oh, for those innocent days of yore, when “The Hangover” was a malady and not a movie.
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