End of Watch (review)
David Ayer has pulled off an all-new LAPD cop action drama with a vibrancy so electric that the screen seems to sing from the film’s opening moments, and keeps ringing long after the film ends.
2012 theatrical releases
Premium Rush (review)
In real life, a bike messenger with a death wish is an urban hazard. But in a zippy popcorn flick and played by Joseph Gordon-Levitt? He’s a charmer…
Anna Karenina (review)
There is no pretense that we’re getting a realistic depiction of late-19th-century Russia. Director Joe Wright isn’t merely crafting a metaphor about the social structures under which we all live: he’s underscoring the artificiality of cinema itself.
The Queen of Versailles (review)
Ends up an ever less slightly ungenerous look at the .01 percent than it might have been absent the 2008 financial crash, because even the uberwealthy get stressed when money gets tight. But this is still a brutal film from many angles.
Dredd (review)
I dunno much about Judge Dredd. I know he springs from a comic book series, I know he’s Judge Judy and executioner, and I know he never takes his helmet off. Forget the roughshodding of civil rights: it’s that last one that’s a major bummer.
The Cold Light of Day (review)
Brought to you by the Madrid Film Tax Credit Production Office and the Society for the Promotion of Henry Cavill as the Next Big Thing!
Bachelorette (review)
This is a like comedy from Star Trek’s vicious Mirror Universe, where backstabbing and scheming are just the way things are.
A Few Best Men (review)
If you don’t already think romance is dead, you will after this crude, obvious, juvenile, and desperately unfunny excuse for a wedding farce.
Lawless (review)
An outsider’s look at a unique moment in American history, the gigantic failed social experiment of Prohibition: withering yet hugely engaging and ringing with unspoken critical parallels with today’s “war on drugs.”
Cosmopolis (review)
Honestly, I’m not entirely sure what David Cronenberg’s point is here…
