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The Way Back conflates a sports movie with the tale of an alcoholic struggling to overcome his addiction. It plays out a little like a cross between Hoosiers and Manchester by the Sea. Although director Gavin O’Connor and writer Brad Ingelsb...

We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring. Although the film does not ascend to the pinnacle of its genre (arguably occupied by Hoosiers), it's not too far down the mountain and the added ...

We Are Your Friends is presented in three very different acts. The first is at times fresh and inventive, with playful elements that enliven the narrative. The second is solid but familiar. The third is meandering and strangely unsatisfying, even tho...

Of all the cast members of the former Friends, Jennifer Aniston is by far the most successful. But there's no correlation between "success" and "quality." For a while, Aniston showed a willingness to try different things and experiment (her high po...

Weapons is a step up for writer/director Zach Cregger from his promising horror debut, Barbarian – funnier, more unsettling, and ultimately more satisfying when taken as a whole. Identified by the filmmaker as having been in part inspired by...

Until recently re-watching it, I had forgotten how funny What’s Up Doc? is. The combination of Peter Bogdanovich’s pacing, Buck Henry’s humor, and the actors’ comedic timing makes for one of the funniest outings of the 1970s. Moreover, ...

Where the Wild Things Are may be the first family film in recent memory to rely not on narrative or character development but on ideas and the director's vision. The result is an involving experience for all but the most fidgety children and an op...

White Oleander is a flower - a hearty-but-poisonous flower whose beauty makes it appear deceptively fragile. This blossom, which appears several times throughout the film that takes its name, is a perfect metaphor for Ingrid Magnussen, the charact...

The Whole Nine Yards suffers from split personality syndrome - it's a strange hybrid of film noir and comedy. At first, this might not seem like an unusual approach, until you recall that most movies of this ilk are satires. That's not what's goi...

I might have felt sad about what director Howard Deutch and screenwriter George Gallo have done to the characters from The Whole Nine Yards if I cared about them in the first place. The problem with a movie like Jonathan Lynn's 2000 noir comedy is...