I DON’T KNOW HOW SHE DOES IT – Not Even For Free:  You Don’t Want To Know   The recent movie I DON’T KNOW HOW SHE DOES IT most resembles is The Nanny Diaries, which is odd because it was a flop for Harvey Weinstein and The Weinstein Company, and yet Weinstein’s studio […]

  MISSION:  IMPOSSIBLE – GHOST PROTOCOL:  Worth A Ticket – Routine But Spectacular   With MISSION:   IMPOSSIBLE – GHOST PROTOCOL, Brad Bird makes the very unusual transition from animation auteur to live-action director.   Of course, since his animated work includes The Incredibles, one of the snazziest and smartest action-adventures of recent years, the leap […]

    FRIENDS WITH KIDS:  Worth A Ticket – Sitcom, In A Good Way   We live in a pop culture where the recent Emmy Award nominees are so clearly superior to the films up for this past year’s Oscar that it’s not even worth arguing about. (Mad Men vs The Artist?  Game of Thrones […]

  ON THE ROAD – Worth A Ticket – Kerouac’s Classic Is Beautiful and Atmospheric But Lacks Urgency ON THE ROAD, as a novel and now as a film adaptation, is so enmeshed with the mythology of the real-life people and events it thinly fictionalizes and with the many works, both documentary and fiction, it’s […]

  FUN SIZE:  Not For Any Price – As Halloween Movies Go, John Carpenter’s Are Funnier FUN SIZE marks the feature directing debut of Josh Schwartz, but he’s hardly a neophyte, being the muscle behind (and for the most part a writer/creator of) The O.C., Gossip Girl, Chuck and Hart of Dixie.  He certainly knows […]

  VERY GOOD GIRLS is set in contemporary Brooklyn, but it’s shot (by Bobby Bukowski) with the kind of gauzy glow that suggests a European perfume commercial.  It’s lovely to look at, but also mystifying and ultimately annoying, and that describes the movie too. Naomi Foner, who wrote and directed the film, makes her directing debut […]

  EVIL DEAD:  Watch It At Home – Plenty of Icky, Not So Much Scary A slick, Hollywood-budgeted remake of Sam Raimi’s 1981 EVIL DEAD (actually there was a ‘the” in front of that one, the definite article having been misplaced over the decades) is sort of a contradiction in terms.  The whole appeal of […]

  The prevailing atmosphere in Denis Villenueve’s PRISONERS will be familiar to anyone who’s been watching cable TV drama for the past few years.  Gloom, grief, hopelessness, helpless rage–it’s home turf for shows like The Killing, The Bridge, Low Winter Sun, Broadchurch and their brethren.  (The rural Pennsylvania setting of Prisoners has even borrowed the endless raininess of The Killing‘s Seattle.) […]