Dwayne "The Rock" Johnson gets to do a little bit of everything in his newest starring role, as a tough and stern but caring and good-humored stepfather to troubled teen Josh Hutcherson in “Journey 2: The Mysterious Island,” which opens Friday.
Initially a dancer, then a drummer, then a singer, then an actress, and for the past three decades a true pop star, the ambitious Madonna tried film directing a few years back (does anyone even recall the forgettable “Filth and Wisdom?”). On Friday she goes at it again with “W.E.,” a complicated story that covers two very different time periods.
“Drive” coasts by on a whole lot of style and not much substance, but that’s OK. When a movie is this stylish, I can’t see any reason to complain.
It’s rare that a film so perfectly captures the utter joy and exuberance of being young. But “Chronicle” caps off that achievement by setting its story inside an ultra low-budget, purposely gimmicky science fiction tale of three high school seniors who make a bizarre discovery.
Ti West is no Stanley Kubrick, but he does share the late, great filmmaker’s penchant for slow-burn thrills emanating from central characters whose self-destructive traits just might rear up and bite them in the end.
And like the dozens of ghouls and ghosts he spies from his perch inside a haunted mansion, Daniel Radcliffe is lifeless and transparent.
Cold water and the Cold War serve as backdrops for this fact-based tale about the extraordinary efforts of an animal activist (Drew Barrymore) and a small-town reporter (John Krasinski) to save a family of whales trapped by ice in the Arctic Circle.
Although the Academy Awards ceremony is a time-honored Hollywood tradition, the last few years, it has seemed to be a tradition in trouble. The televised broadcast of the ceremony has been drawing a decreasing number of viewers, despite Hollywood’s efforts to attract a wider audience.
Yes, there will be blood in “The Grey,” as the gray wolf has his day — and night. But some brain matter mixes with the splatter in this film. It’s a good combination. Final note, stay for the end of the credits.
My favorite documentaries are the ones that start by asking a weird question or uncovering an unknown subculture, then keep digging and digging as the story gets stranger and stranger. In that spirit, allow me to recommend “Resurrect Dead.”
Open this to watch the trailers for movies opening this week.
Can Glenn Close pull off the task of playing a man? You bet her baggy britches she can. And in the cross-dressing lollapalooza that is “Albert Nobbs,” the Oscar-nominated actress does it without the elaborate prosthetics that made fellow nominee Meryl Streep look so freakish in “The Iron Lady.”
It’s the epitome of high-concept and low aspirations, tossing no cliché or implausibility aside in indulging a ridiculous scenario about a wronged ex-cop trying to clear his name.
She’s played first lady Laura Bush, enticed a 40-year-old virgin and flirted with amateur porn stardom, but never has Elizabeth Banks’ career reached the heights of “Man on a Ledge.”
The Academy of Motion Picture Arts and Sciences on Tuesday announced the nominees for the 84th Academy Awards, which will be broadcast on Sunday, Feb. 26. Here’s a look at the nominees:
British stage veteran Janet McTeer finds her man as a cross-dressing house painter in the period drama “Albert Nobbs.” Becoming Hubert, said McTeer, was more than just a physical transformation that included makeup and prosthetics.
If you enjoy those Godzilla movies where our gigantic reptilian hero fights a nonstop collection of colossal creatures, each more ridiculous than the last, you might be surprised by the original “Godzilla.”
I never thought I’d see the day when a refugee from “American Gladiator” scored top billing over such luminaries as Michael Douglas, Michael Fassbender, Antonio Banderas and Ewan McGregor. Yet that’s where Gina Carano finds herself in Steven Soderbergh’s feminist Bond fantasy, “Haywire,” a less-spicy “Salt” in which the mixed martial arts champ seizes the opportunity to pepper the faces of Hollywood’s handsomest leading men with kicks, chops and – when absolutely necessary – bullets.
Director Wim Wenders portrait of Pina Bausch, who has been hailed as the most influential figure in contemporary European dance, focuses more on the dance than the choreographer.
In its opening seconds, “Red Tails” is revealed to be inspired by true events surrounding the famed Tuskegee Airmen, the black pilots who helped protect the skies over Europe during WWII.
