> Michael Mohan’s SAVE THE DATE, which premiered this afternoon at Sundance, doesn’t earn its points from an original premise. It concerns 2 divergent sisters, Sarah (Lizzy Caplan) and Beth (Alison Brie), but mostly Sarah. While Beth, the control-freak, is relentlessly planning her upcoming wedding to musician Andrew (Martin Starr), the commitment-phobic Sarah is about […]

  ENDLESS LOVE:  Not Even For Free – Hopeless Wreck Truly:  why does this new ENDLESS LOVE exist?  Even on the crassest commercial level, it makes very little sense.  The 1981 Franco Zeffirelli/Brooke Shields/Martin Hewitt version is remembered as neither good nor particularly successful (it made only half as much as Shields’ Blue Lagoon had […]

  LABOR DAY is a beautifully performed, well crafted Harlequin romance.  As such, it’s a shock coming from writer/director Jason Reitman (based on Joyce Maynard’s novel), one that goes in a completely different, far more earnest direction than the snap and wit of his Thank You For Smoking, Juno, Up In the Air or Young […]

> It’s actually harder to come up with a manageable list of Honorable Mention movies than a Top 10, because there are so many films that are eminently worth seeking out and seeing, but perhaps a little bit flawed–sometimes too thin, sometimes too audacious for their own good.  It wouldn’t have been much of a […]

  GOD’S COUNTRY (no distrib):  A deliberative character study that’s also a thriller of sorts, anchored by one of the best performances of Thandiwe Newton’s career.  When two hunters (Joris Jarsky and Yellowstone‘s Jefferson White) park their pick-up on college professor Sandra Guidry’s (Newton) land for their convenience, they’re messing with the wrong person.  Sandra’s […]

  PACIFIC RIM:  Watch It At Home – Even Michael Bay Might Say “Too Much” Why isn’t PACIFIC RIM a better movie?  It’s a passion project for the tremendously talented co-writer (with Travis Beacham) and director Guillermo del Toro, who’s made both the enjoyably junky Hellboy adventures and the transcendent Pan’s Labyrinth.  Del Toro is […]

> The Academy limits the number of movie ads that can be aired on the Oscar telecast (until recent years, they didn’t allow any), so as not to make the night look like the awards are shilling for the studios.  (God forbid!)  It’s not clear whether that’s the reason only 2 movie promos made it […]

  COME SUNDAY (Netflix):  American films that feature religious figures tend to come in two varieties:  the cloying “faith-based” dramas that play quite literally to the choir, and the “edgy” films in which the supposedly pious are revealed to be hypocritical and often evil frauds.  Joshua Marston’s Come Sunday is a rarity, a film that […]