Writer/director Mike Judge captures the hilarity of the workplace as well as anyone. His "Office Space" (an American classic, in my opinion) and "Idiocracy" both flopped in their theatrical runs but have become DVD hits.
Quentin Tarantino's films have been called many things: brilliant, self-indulgent, operatic, ultra-violent, hyperkinetic, irresponsible, and more. But never has Tarantino been boring. Until now.
There aren't enough quality movies made for young women, and "Post Grad" does nothing to improve the situation.
Everybody could use a good laugh these days, and humor right now seems all the more fun if we feel we're getting away with something. In other words, it's a great time for a guilty pleasure comedy.
A reviewer friend once asked me if it is acceptable to praise a movie for what it's not. After seeing "Julie & Julia," I'm finally ready to answer: "Yes!"
Judd Apatow has decided to grow up, and we should all rejoice.
Sitting through "Orphan" is like being forced, like Alex in "A Clockwork Orange," to watch videos of child abuse. This is easily the worst film of the year, and it exploits child actors so shamelessly I can scarcely believe it's legal. I've seen plenty of bad movies, but it's a rare film that sends me into moral outrage.
Harry Potter comes to our rescue this week. The sixth installment of the Potter series will undoubtedly banish all gay caricatures and obnoxious robots to the bottom of the box office top 10, even though the movie doesn't offer the pyrotechnics we usually expect during summer.
What kind of a world do we live in when "Brüno" opens to fanfare and a wide release, yet an instant science fiction classic like "Moon" barely makes it to theaters?
"Public Enemies" makes a rather strange midsummer release. This somber gangster piece set in the 1930s comes out at a time when transforming robots and Sacha Baron Cohen's latest affront to comedic taste ("Bruno") look sure to rule the box office for weeks.
"Transformers 2" features the most impressive robots ever programmed into a computer and many battalions of heavily-armed American military men, all of whom blow up everything in sight. And all this carnage adds up to a dizzying, exhausting, loud, clanging, clanking, whirring, headache-inducing scrap pile of a movie.
"Away We Go" provides perfect counterprogramming for those who aren't impressed by computer-generated dinosaurs, overblown violence and all the other trappings of summer blockbusters.
So right now you're thinking, a review of "Up," isn't Marker a little late on this one?
"Land of the Lost," this week's only big-budget release, brings an end to this summer's streak of solid releases. It's the immediate frontrunner in the race for worst summer movie.
Sam Raimi has gone back to using his powers for evil, and it's a good thing.
With the work week shortened by one day for two consecutive weeks, many residents may find time to hit the local cinema to see movies gearing up for Oscar nods or blockbuster status.
To what do we owe the second coming of the biblical epic?
Writer-director Chris Rock is not Andre Allen, the stand-up comedian turned movie star lead of "Top Five." But, it's almost impossible to watch his latest effort, a cutting comedy about showbiz, creativity and ambition, and not wonder what material Rock took from his own life. While that's a fun and compelling draw, thankfully, it's only part of the triumph of the film.
LOS ANGELES - All is not well in Panem. At the conclusion of "The Hunger Games: Catching Fire," Katniss' (Jennifer Lawrence) force-field shattering arrow left the society in turmoil. The desperate act was perceived as subversion, inciting populist uprisings and devastating counter attacks by the governing elite.
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