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February 2012
Safe House
Might Leave You Feeling Queasy
Shaky-camera syndrome has taken hold of today’s action movies. And Safe House, directed by Daniel Espinosa, is no different.
Christian Hamaker
February 09, 2012
Love Binds Ever Sweetly in
The Vow
Being everything a good love story should be, this sweetheart of a movie released in theaters just in time for Valentine’s Day.
Susan Ellingburg
February 09, 2012
W.E.
Looks Good but Ends Up Empty
Madonna and co-writer Alex Keshishian want us to care deeply, but the stakes laid out early in W.E. are poorly developed.
Christian Hamaker
February 09, 2012
Disturbing Realism Recorded in
Chronicle
Things go as well as you might expect in this story of teen boys who have overwhelming powers. Which is to say, not well at all.
Susan Ellingburg
February 09, 2012
Big Miracle
Is Hardly a Whale of a Tale
Big Miracle wants to be a whale of a tale with its heart in the right place, but the execution leaves more to be desired.
Christa Banister
February 03, 2012
Daniel Radcliffe Fades in
Black
The Woman in Black, Daniel Radcliffe’s first starring role since the Harry Potter films, offers few moments of genuine fright.
Christian Hamaker
February 02, 2012
January 2012
One for the Money
Isn’t Worth Yours
Adapted from a Janet Evanovich novel, One for the Money is every Garden State stereotype strung together by a go-nowhere plot.
Christa Banister
January 30, 2012
A Very Blasé
Albert Nobbs
Isn’t Fooling
A transgender period piece—something you don’t see every day—Albert Nobbs isn’t fooling or shocking anyone, and it never will.
Jeffrey Huston
January 27, 2012
Don't Fall for
Man on a Ledge
Why do you go to the movies? To have a good time? To escape? To forget the worries of the day? If so, skip Man on a Ledge.
Christian Hamaker
January 26, 2012
Good Intentions Mostly Fall Flat in
Red Tails
As the big-screen debut from Anthony Hemingway, with George Lucas as executive producer, what Red Tails lacks most is gravitas.
Christa Banister
January 23, 2012
Soderbergh’s
Haywire
Has Punch
Director Steven Soderbergh leaves the art house far behind for this well-executed action film of a private contractor wronged.
Christian Hamaker
January 19, 2012
Extremely Loud
Equally Moves and Unsettles
Extremely Loud & Incredibly Close will either have you reaching for a tissue or sighing from sheer emotional exhaustion. Or both.
Christa Banister
January 19, 2012
Sound the Gong for
Joyful Noise
Character conflicts have a disappointingly generic quality, while the humorous treatment of sexual sin is downright troubling.
Christian Hamaker
January 12, 2012
Nothing Adds Up in Lackluster
Contraband
The story of a super smuggler who’s gone straight but is forced out of “retirement” to keep his family safe falls flat in a hurry.
Christa Banister
January 12, 2012
Streep Rules as Thatcher in
The Iron Lady
There aren’t too many films that extol political conservatism these days, but those views are championed in The Iron Lady.
Christian Hamaker
January 06, 2012
Carnage
Plays It Tough, Sometimes Ugly
Carnage, based on the play The God of Carnage, is a pointed, sometimes brutal examination of human nature apart from God.
Christian Hamaker
January 06, 2012
Best of Two Eras Created by
The Artist
The Artist, a full-length black-and-white silent film, is the best of two eras a century removed and must be seen in a theater.
Jeffrey Huston
January 03, 2012
December 2011
We Bought a Zoo
Will Have You at Hello
It takes a real pro like Cameron Crowe to transform what could’ve been a big mess into something meaningful with We Bought a Zoo.
Christa Banister
December 21, 2011
No Need to Hoof It to See
War Horse
Though handsome to look at and featuring an impressive war sequence, Spielberg’s War Horse flags considerably as it wears on.
Christian Hamaker
December 22, 2011
Tintin
Cements Spielberg's Reputation
Moviegoers might think of Steven Spielberg’s great Raiders of the Lost Ark, a film with an adventurous spirit that Tintin also shares.
Christian Hamaker
December 20, 2011
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