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.
One thing this current run of blockbuster fairytales inspired by Tim Burton’s “Alice in Wonderland” has taught us is how very hard it is to be Tim Burton. Multiple versions of “Snow White,” a comic splatter film “Hansel & Gretel” – some have attempted Burton’s visual whimsy, all have failed to find his tone.
Ready to be entertained? Thats what producers of this years Oscars are promising a show that will feature more production numbers and musical performances.
As a businessman scrambling to find a way to get his son’s federal prison sentence overturned, Dwayne “The Rock” Johnson has to play fear, tough love, pity and panic – and he’s in a bit over his head.
Oscar buzz is heightening as the Feb. 24 awards show approaches.
Steven Soderbergh, rightly considered one of Hollywood’s smartest movie makers, is at his cleverest in “Side Effects,” a canny, cunning big-idea thriller in a minor key, an engrossing zeitgeist whodunit about Wall Street, Big Pharma, prescription drugs and the power we give psychiatry and psychologists.
Making “Quartet,” a film about life in the spotlight and the drive to stay in the game, doesn’t seem like much of a stretch — or a risk — for Dustin Hoffman. With a storied career that is still lively at 75, he certainly knows the terrain.
Weve had slow zombies, fast zombies, and funny zombies. Now, with Warm Bodies, romantic zombies have shuffled into the mix.
An R-rated horror action comedy fairy tale — how’s that for genre bending?
“Parker” roars into a dull January and enlivens the movie landscape, and thank the action-movie gods because we needed a little something to wake us from our winter slumber.
Director Jacques Audiard’s last film was the brilliant, gritty “A Prophet,” an Academy Award nominee for best foreign language film. His style was stark, moody and unflinching. He seemed to be preoccupied with studying how small moments make us who we are, and how we discover strength as vulnerable beings.
It’s a filthy place, this “Broken City.” Even the people called “good guys” have their dark side, their dirty secrets and tragic flaws.
Academy Award nominations were announced Thursday with some big surprises.
The Orpheum Theatre makes time traveling simple.
Director Kathryn Bigelow became the first woman to win an Academy Award for directing with 2008’s “The Hurt Locker” (which also won best picture). With “Zero Dark Thirty,” she could be poised to win another one.
“Promised Land” is an engaging and entertaining — if preachy — look at Big Energy and fracking — the land-and-water-wrecking practice of drilling and pumping water and chemicals into the ground to extract natural gas from shale.