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At least after seeing this movie, I understand where the title came from -- starting about thirty minutes into this interminable, unfunny feature, I began looking at my watch every few minutes and thinking, "Dear God, is this ever going to end?...

Dear John delivers pretty much what one would expect from an adaptation of a Nicholas Sparks novel: a high-profile downer of a Harlequin romance. There's a market for this sort of movie, which lays it on thick and does everything possible to make ...

Death at a Funeral addresses the question of whether a British comedy featuring a bunch of white guys can translate into an American setting with a group of (primarily) black characters. Since the answer is "yes," this says something about the fle...

Roger Ebert once said that, if done right, any topic could be the subject of a comedy. In that spirit, consider The Death of Stalin. From the title, one might assume that this is a serious look at a seminal event of 20th Century world history. ...

Whether by coincidence or design, the three week period from August 20 through September 10 has been dominated over the last five years by Jason Statham. In 2004, there was Cellular. In 2005, there was Transporter 2. The 2006 entry was Crank, fo...

Fans of Death Race 2000 (they comprise a small but loyal group) argue that the movie’s strength lies not in its action but its political commentary. Although it would be fair to say that the film has allegorical elements related to a dystopi...

It’s fair to ask what new things Eli Roth and Bruce Willis bring to Death Wish that the original, made in 1974 with Charles Bronson, didn’t have. The answer is: not many. Rather than using this as an opportunity to provide a deeper dive in...

Watching The Debt, I was reminded of how entertaining a well-executed Cold War thriller can be. Although elements of this movie, based on the 2007 Israeli film Ha-Hov, have a kinship to Steven Spielberg's Munich, the overall thrust is more in line ...

Perhaps the most complimentary thing that can be said about Barney Elliott’s directorial debut, The Debt, is that it has the best of intentions. Unfortunately, a worthy message doesn’t necessarily equate to a good movie and, in this case, ...

For Krzysztof Kieslowski's North American followers, Decalogue has attained an almost-mythical status. Kept out of theaters because of a distribution faux pas (the North American distributor refuses to allow the films to be shown), Decalogue has r...