Action sequences in “Furious 7” follow the series’ recently developed tradition of physics-defying car actions.
Deemed the most lethal sniper in American history, Chris Kyle embodies the most patriotic and heroic values central to any famous war hero. Yet, as director Clint Eastwood is determined to show, he is not without his demons.
Phil Lord and Chris Miller don’t make movies; they make miracles. Taking Hollywood’s most cynical, profit-driven ideas and injecting them with undeserved doses of wit and humanity, they violate every maxim that relates art and commerce in Tinseltown.
What fills Christopher Nolan’s mind when he looks up at the stars? We know Kubrick ponders the nature of existence; Ridley Scott has nightmares of spacecraft turned to death traps; Michael Bay dreams of robots.
The boundaries between fiction and fantasy are not incredibly clear in this movie, and that’s the fun of it all. As Thomson, Keaton is hilarious and disturbing, incredibly grounded and yet fantastical.
You don’t really know anyone in “Gone Girl,” at least until the film’s litany of tricks and twists and turns run its course. “Gone Girl” begins as one film and ends as another, with a radical shift thrown in the middle for good measure.
Let’s go ahead and just fast forward to the inevitable ending of this article: the ending of “Skeleton Twins” was a little unrealistic. Okay. Moving on, because the majority of the 92-minute film was a well-written and beautiful depiction of depression, loneliness and the unbreakable tie of being a sibling.
When you are a super-soldier who has World War II-era American values but now has to deal with modern-day life in 2014, who can you really trust? “Captain America: The Winter Soldier” tries to answer this main question as it thrusts Captain America Steve Rogers, once again played by hunky Chris Evans, back into action.
“Divergent,” a film based on author Veronica Roth’s young adult series of the same name, attempts to carve its place among other blockbuster teen movies like “The Hunger Games” and “Harry Potter.
Lars von Trier is a world-class provocateur, perhaps the boldest, most shameless in cinema today. He toes the line between art house hero and outright troll with anything but delicacy, doing whatever he wants, whenever he wants.