BLACKHAT is a satisfying addition to the Michael Mann catalog
BLACKHAT seems silly on its face, casting buff himbo Chris Hemsworth as a master hacker. What can I say? Michael Mann makes it work.
BLACKHAT seems silly on its face, casting buff himbo Chris Hemsworth as a master hacker. What can I say? Michael Mann makes it work.
LUCY shouldn’t work. The hook is silly, the direction is broad, the premise is simple. But Johansson and Besson make a ridiculous ride fun.
2014 was a genuinely amazing year for film. Unless you looked at what – and who – got nominated for an Academy Award.
Taken 3 is a dense, silly movie that is impossible to pay attention to. A truly abysmal capper to an already-stolid trilogy.
A Walk Among the Tombstones may look right at home in the glut of old-man-action we’ve seen, but it’s a step above the competition.
Horns, adapted from a novel by Joe Hill, has a great hook. It’s a shame that the movie they built on it doesn’t really work.
The Guest is a chilling thriller that lets Dan Stevens stretch his muscles. Part Captain America, part Terminator, he’s unforgettable.
The rare comedy that has more sociopolitical importance than it does laughs, The Interview is slight but reasonably charming in the end.
Unbroken, Angelina Jolie’s adaptation of the incredible true story of Olympic hero Louis Zamperini, is remarkably boring.
The Hobbit: The Battle of the Five Armies finally brings to an end an abysmal modern fantasy trilogy — and to Peter Jackson’s legacy.
Beyond the Lights is one of the finest films of the 2010s, a mature romance for adults who miss seeing sparks fly on the silver screen.
The Hunger Games: Mockingjay – Part 1 wallows too much to live up to Catching Fire, but still pushes things towards an interesting end.
White Bird in a Blizzard is a misfit novel adaption, but Gregg Araki and a phenomenal cast make sure it is one you’ll remember.
Last Days in Vietnam is a decent documentary in the tradition of Ken Burns, drily informative but less captivating than its story deserves.
The Two Faces of January, Hossein Amini’s adaptation of a lesser-known Patricia Highsmith book, is a winning thriller worth seeking out.