Me and Orson Welles (review)

The best ever love letter/horror story about the seductions and anxieties of life in the theater is the Canadian television show *Slings & Arrows.* This enchantingly bittersweet little film might be the second best.

The Blind Side (review)

‘Is this some sort of white guilt thing?’ one of Sandra Bullock’s ladies-who-lunch friends asks her Tennessee socialite after she informally adopts a homeless black teen…

Everybody’s Fine (review)

Writer-director Kirk Jones has pulled off a little miracle with this lovely, lovely movie: He’s telling us a story both universal enough in its reach to speak to anyone who’s ever been part of a family, and specific enough in its particulars to keep it grounded in the fantasy of fiction.

The Road (review)

This is a really great film — truly great in the classical sense of the world, as grand as our most terrible fears and as wild as our most outlandish hopes and as intimate as being alive can be.

Ninja Assassin (review)

‘Ninja assassin.’ It’s like ‘monster trucks’ and ‘automatic weapons’ and ‘zombie Nazis’: you take two great things that are awesome separately, and then you put ’em together and it becomes like totally mindblowing, dude. Oh not.

Planet 51 (review)

Much of what might have made it appealing to true devotees of science fiction and cinema, like how it’s a pastiche of 1950s B-movies, is lost when its parodying of the paranoia and xenophobia of those films is so relentlessly trite and obvious…