Rambo (review)
I will confess upfront that I have never seen a *Rambo* movie before — yes, there are serious gaps in my film education. I’m sorry. But I was with this new incarnation for a goodly while…
reviews by year
Untraceable (review)
The original working title of this flick was *Streaming Evil,* which has precisely the right amount of built-in schlock for the tedious bit of horror exploitation this is.
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?
27 Dresses (review)
Herewith the latest example of whalebone-corseted conformity masquerading as a postfeminist statement on modern independent womanhood.
Cloverfield (review)
There’s no way *Cloverfield* could possibly be worth the to-do. Could it?
Cassandra’s Dream (review)
Woody Allen’s latest film feels like something out his early career, or maybe even something that long predates him.
Persepolis (review)
Apes the style of Marjane Satrapi’s graphic novel of the same name, with its scratchboard vitality and black-and-white insistence.
Atonement (review)
Yes, it’s a romance, like all the ads are saying: a rapturous one, a glorious one, the best since *The English Patient* or *Gone With the Wind* or whatever classic the TV commercials are likening *Atonement* to in tones of hushed, awed respect.
First Sunday (review)
Apparently, it’s now okay to commit serious felonies like robbery with breaking and entering along with kidnapping at gunpoint as long as you have a really, really good reason…
