Flawless (review)

It’s gotta mean something, right? In only the first few months of 2008 we’ve seen more than one — more than two — movies about daring, honking-big robberies pulled off by little people who feel, perhaps justifiably so, that they’ve been cheated by life…

Mad Money (review)

Oh, it’s completely implausible, sure, but rather enticing as well: could three low-level employees at a Federal Reserve bank really walk out the front door with wads of bills that had been destined to be shredded?

How She Move (review)

These kids today, with their funky step dancing and their vibrant street culture and their desperate attempts to raise tuition for private school. Where did we go wrong with them?

Gone Baby Gone (review)

It’s no rare thing that a film gets buzz for its director. It’s a rare thing when that director has never made a film before. It’s an even rarer thing when the film by that first-timer turns out to be as astonishingly confident and shrewd as actor-turned-director Ben Affleck’s *Gone Baby Gone.*

Becoming Jane (review)

I love *Becoming Jane* even if it is almost entirely invented, because it captures both the aching romanticism and the cold, hard practicalities of Austen’s fiction.

Knocked Up (review)

The problem is not that *Knocked Up* is “liberal” because it’s about casual sex and having a baby out of wedlock. The problem is that it is horribly conservative about embracing and enjoying an adult version of sexuality that has moved beyond dorm-room-esque groping.

Tribeca ’07: The Cake Eaters (review)

You asked me to marry you, and then you took off without saying good-bye. Three men, three women, and a whole lotta tender secrets, aching desire, and broken hearts fill up the directorial debut of actor Mary Stuart Masterson — so much so that what seems at first like a lean, spare psychic space in … more…