
Regression movie review: no thanks for the memories
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.

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.

“A Girl in the River” masterfully portrays a culture that justifies killing women, its rage subsumed by a dispiriting account of how its customs are perpetuated.

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.

Michael Bay propagandizes for a right-wing idea of “true America,” seething with disdain for anyone who isn’t a former elite soldier turned mercenary.

Paints an impressionistic canvas of unease and disquiet, of hope and wonder, filled with glorious music. Magical… though sometimes it’s black magic.

A missed opportunity to tell what should be a captivating real-life disaster tale that is instead plodding, scattershot, and lacking in dramatic impetus.

Lazy and trite, with a passive protagonist. It’s as if no one here understands the appeal of the postapocalyptic YA genre it is attempting to piggyback on.

Dubious police procedures, by-the-numbers buddy-cop-comedy shenanigans, and characters who hate one another, none of which is as fun as it sounds.

Snarky humor and a wonderfully put-upon Matthew Macfadyen are the best reasons to see a satire that ultimately seems to forget where it was heading.