Screen
Can you see it now?
I bet the person in charge of marketing Colossal named the ulcer they developed “Nacho.” Writer/director Nacho Vigalondo’s latest is nigh-impossible to categorize and misleading...
A contraption, but it works
Call it strangeness on a train. The highly gimmicky, very entertaining new thriller Source Code takes place mostly on a passenger car, part of the fictional Chicago Commuter Rail line, speeding toward the Loop carrying a bomb planted by an unknown terrorist. Our ...
Poised for monster success
Demons of mediocrity, be gone! Here we have a shrewd sequel a touch better than the original...
Mutant fight club
Those who only know comic books through their (somehow) still-increasingly popular cinematic adaptations don’t know the dirty secret about the source material: Most story...
Not this again
Disney’s effort to turn Kristen Bell into America’s Sweetheart reaches its tipping point with You Again, a flat romantic comedy that packages her in a funny setup and surrounds her with funny people...
‘Leap Year’ fits romantic comedy mold
If chemistry were all, then the sparks Amy Adams and Matthew Goode set off would be enough in "Leap Year," a romantic comedy in which those sparks never quite ignite...
Who needs a swan song?
Golden Era Hollywood screenwriter Frank S. Nugent once described story as a disturbance of the status quo: “Something happens to upset it; the disturbance...
Trial and terror
You only hear about a psychological experiment if it goes really, really well or really, really bad. Guess how a simulation of prison using 20-something college students as both guards and inmates went? Writer Tim Talbott’s script strays little from a grand ...
Sensationalism, not drama
One of the great mysteries of filmgoing relates to a question the medium has posed since its infancy: When is “too much” just right...
IFS unlocks the artistry of Wim Wenders
Sing to me of the man, Muse, the man abroad and at home. Sing to me his story as a wanderer and a traveler,...
