2012 was, in the end, a very good year for movies–or a a good half-year, more accurately.  With the studios continuing to load their best efforts into the festival- and awards-heavy fall and winter part of the calendar, not a single one of the Top 10 below opened before July, and only 3 before […]

  A GOOD DAY TO DIE HARD:  Not Even For Free – Yippee-Ki-Boo As part of its promotion campaign for the new A GOOD DAY TO DIE HARD, 20th Century Fox is holding a day-long series of Die Hard marathons around the country, culminating in the opening night screening of the latest chapter in the […]

  DESPICABLE ME 2:  Watch It At Home – Good-Hearted If Unexciting Sequel For the Kids Despicable Me was far from the most ambitious or striking animated feature of the last few years, but it was definitely cute.  It told the story of supervillain Gru (voiced by Steve Carell), a Scrooge type with an unplaceable […]

  BLUE IS THE WARMEST COLOR:  Buy A Ticket – A 3-Hour Deep Dive Into A Character’s Soul BLUE IS THE WARMEST COLOR is relentlessly, sometimes suffocatingly intimate.  By that I don’t mean its celebrated, lengthy (although simulated) sex scenes between lead characters Adele (Adele Exarchopolous) and Emma (Lea Seydoux), which have earned it an […]

  The consensus is that the 2014 Sundance Film Festival was a solid but unexciting one.  To an extent that’s a business judgment: whatever its leaders may say publicly, Sundance gave itself up long ago to being as much an acquisition showcase as an artistic one, and this year, while quite a few films at […]

  JULIET, NAKED (no distrib):  Every Sundance has a title or two that isn’t particularly “indie,” other than by the fact that its stars aren’t hugely bankable.  These aren’t the films that set critical hearts aflutter, but they can be worthwhile all the same.  That’s the case with the likable Juliet, Naked, which continues Nick […]

  THE FAREWELL (A24):  Lulu Wang’s The Farewell is what could be called Sundance Classic, a small, very personal film nurtured by the festival into wide enough attention that A24 paid $6M to release it.  It’s based on Wang’s own life, so much so that it would be a spoiler to reveal the caption to […]

  ON THE COUNT OF THREE:  There was a well-deserved Sundance screenwriting prize for Ari Katcher and Ryan Welch’s script for Jerrod Carmichael’s big-screen directing debut, which threads an almost impossible needle as a comedy about suicidal depression.  (In an unintentional way, the film is a companion piece to the festival’s How It Ends, also […]