[8] A dorky teenager (Aaron Johnson) decides to dress up like a superhero and help people in need. He encounters a few other kids with similar ambitions, and before you know it, you have a hyper-violent, low-rent, joyous abomination of the superhero flick. Director and co-screenwriter Matthew Vaughn (Layer Cake) takes some unpredictable turns, railing against our expectations to create some terrific edge-of-your-seat moments. Nothing …
[8] A teenaged girl ropes an aging, alcoholic U.S. Marshall into helping her find justice for her father’s murder. In this age of sequels and remakes, it’s hard to believe one of them could actually be this good. The Coen Brothers take the John Wayne original (based on a book by Charles Portis), roll it in mud, fray the edges, and weave a telling that’s …
[8] A family tragedy reunites three men who share a traumatic childhood experience in Mystic River. Sean Penn and Tim Robbins took home richly-deserved Oscars for their performances in this Oscar-nominated best picture from the ever-reliable Clint Eastwood. Mystic River is a gripping, well-paced mystery that employs misdirection and plot twists better than any other film in recent memory. Eastwood is at his directorial best …
[8] Chris Pine stars in this emotional rescue story about a heroic Coast Guardsman who leads a small crew into a winter storm to rescue the workers on a sinking oil tanker. The Finest Hours is based on the true 1952 story, which the Coast Guard still regards as their most miraculous mission. The movie may already sound exciting to you — and it is. But …
[8] A psychotic businessman (Christopher Walken) plans to plunge Silicon Valley into the ocean to create a worldwide microchip monopoly for himself in Roger Moore’s final outing as James Bond. A View to Kill is more aggressively paced than other Bond films, and features more than its fair share of set pieces and stunts, including a parachute jump off the Eiffel Tower and a climactic gunfight atop …
[8] Pixar returns to the toy box for another adventure with Woody, Buzz, and all the other toys who helped make the first Toy Story so memorable. This time around, Woody is kidnapped by a toy collector and the other toys must launch a daring rescue. The sequel is more action-packed, pitting the toys against big city traffic and Buzz Lightyear’s nemesis, Emperor Zurg, before …
[8] It’s been 11 years since Toy Story 2, and the same amount of time has passed in Buzz and Woody’s world. Andy is now heading off to college and the toys’ fates are up in the air. Will they go with him? Will they go to the attic? Or worse, what if they get thrown away? The movie explores all these possibilities and ends …
[8] A movie about corporate betrayal and litigation is normally not my idea of a good time, but The Social Network turns out to be a well-made, voyeuristic look back at the birth of a now-ubiquitous product that many users can’t live without. In fact, you wouldn’t be reading this review without it. Screenwriter Aaron Sorkin (The West Wing) is a shoe-in come Oscar time …
[8] Matt Reeves (Cloverfield, Let Me In) directs his second installment of the prequel trilogy to the famous sci-fi franchise. War isn’t as epic and enthralling as the spectacular Dawn of the Planet of the Apes, but it’s still a damn fine conclusion to the story of Caesar (Andy Serkis). It’s also kinda neat to see how it dovetails into the original film series. The plot is stripped …
[8] I was not looking forward to Baby Driver, because I haven’t especially cared for any other Edgar Wright movie I’ve ever seen. (Watching Scott Pilgrim in the theatre with a full house was actually one of the most depressing movie-going experiences of my life.) Fortunately, I would never have known Baby Driver is an Edgar Wright movie unless you told me. Because unlike Shaun …
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