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Maturity can be an evanescent quality. Sometimes, even when you've acquired it, you don't recognize it. As a grown woman or man, having left childhood long behind, it's still possible to think of oneself as a young person playing the part of an adu...

When it comes to romantic movies, I have adopted a philosophy. All that's really required to craft an affecting love story is that the protagonists are well-developed, the actors playing them evidence a degree of sexual chemistry, and their relati...

Spoilers... I guess. Those who care, however, will have already read the book and therefore can't be spoiled. When it comes to movies based on YA novels, there are two flavors: those designed exclusively for fans of the books (Twilight, for ex...

Nine represents director Rob Marshall's second big-screen musical spectacle. His previous effort, Chicago, won an Oscar; although Nine is likely to win its share of praise, it probably won't come close to achieving the same level of acclaim. Alth...

Playing for Keeps is a sloppy, poorly focused comedy that wants to be about the relationship between a father and his 9-year old son but ends up being about nearly everything else. The core problem is clear: the interaction between ex-soccer star G...

Playtime, the 1967 comedy from acclaimed French director Jacques Tati, is an odd film (even coming out of a tradition of filmmaking that prided itself on defying conventions and breaking barriers). With no real plot and little in the way of ch...

With a title like The Pursuit of Happyness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happyness is long, dull, and depressing. It ...

San Andreas is exactly what one might expect it to be - no more and no less. It's as if director Brad Peyton (Journey 2: The Mysterious Island) and screenwriter Carlton Cuse assembled this movie after attending a Disaster 101 course. Although tec...

Turning back the calendar to the morning of September 11, 2001 is a risky proposition for any director, and not to be undertaken lightly. Paul Greengrass succeeded brilliantly with his United 93 and now Oliver Stone, never one to back away from a ...