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It’s a cliché to remark that “they don’t make them like they used to” but, in the case of Marty, it’s true. The simple, character-based romance is a thing of the past; even indie filmmakers rarely attempt it today. The first thing o...

There's a kind of exhaustion that sets in while watching Marty Supreme – a response to the relentless, anxiety-inducing noise that defines the 150-minute experience. In Josh Safdie's first solo directorial effort in more than 15 years (following...

It's not hard to be enthusiastic about The Matador, an uncommon buddy film starring Pierce Brosnan and Greg Kinnear. The movie has a nicely modulated mix of comedy and pathos, but succeeds as much because of the two lead performances as Richard She...

In my review of Woody Allen's previous misfire, Melinda and Melinda, I wrote the following: "Lately, Allen's films have sunk into a state of heightened mediocrity - sporadically entertaining, but often disappointing, at least for those clinging to ...

Materialists, Celine Song’s follow-up to the sublime Past Lives, is a rom-com on Prozac. Weighed down by a flat performance from Dakota Johnson, the movie shifts into low-gear after an upbeat, promising first act. Johnson’s lack of chemistr...

The live-action family film, once a cinema staple, has been made all-but-extinct by a surge in the availability of animated fare. Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the ge...

In the pantheon of YA ("Young Adult") dystopian book-turned-movie series, if The Hunger Games occupies the pinnacle then The Maze Runner sits in the basement. After an encouraging and engaging first half of the first film, The Maze Runner h...

The gold standard for inspirational teenage sports movies is unquestionably Hoosiers and, although McFarland USA falls short of the mark set by the iconic '80s film, it comes closer than most would expect. The reason is simple: McFarland USA, lik...

At first glance, one could assume this is just another "cancer romance", but such a glib description does Me and Earl and the Dying Girl a disservice. As brought to the screen by director Alfonso Romez-Rejon and writer Jesse Andrews (adapti...