
Pride and Prejudice and Zombies movie review: ironically, it has no brains
A Mr. Collins of a movie: fatuous, self-important, and nowhere near as smart or as elegant as it thinks it is. There isn’t a lick of wit to be found here.

A Mr. Collins of a movie: fatuous, self-important, and nowhere near as smart or as elegant as it thinks it is. There isn’t a lick of wit to be found here.

See this for Casey Affleck: he exudes a classic cinematic masculinity here. Alas, the rest of the film is old-fashioned in ways that are downright stodgy.

Powerful, intimate, and fresh. We desperately need to hear more women talking about being driven in an inexorable way toward a passion.

Eerie and sinister, operating on a more psychologically incisive level than the typical horror flick… until it tosses it all with a cop-out of an ending.

Exhaustion of mind and body is the primary sentiment in this sensitively observed family drama, drawn with an intimacy that is palpable and uncompromising.

Amenábar aims for a noirish X-Files vibe, but preposterousness rules this inert trudge that does absolutely no justice to a terrible real-life phenomenon.

The wonderfully weird, hilariously morbid “World of Tomorrow” crams in more disturbing, sinister science-fiction ideas than a decade’s worth of blockbusters.

“Day One” is a wartime drama the likes of which we have not seen before, with a marvelous Layla Alizada as an interpreter with U.S. forces in Afghanistan.

This compact little satire — set in 1990s Balkans — is a small, personal story about huge unfairnesses and injustices. Bleakly, bitterly, blackly funny.

Flawless in every way: sumptuous visually and emotionally. One of the more mature and sophisticated romances the big screen has ever seen.