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James L. Brooks' movies have often been characterized by a rambling quality, and nowhere has that been more evident than in How Do You Know, the closest he has come to a conventional romantic comedy. The problem with the film has little to do with ...

Ironically, I’m sure, the title of this movie identifies the single most obvious problem. Certainly, there’s nothing wrong with how it begins. In fact, the first 20 minutes or so of How It Ends are solid, filled as they are with mystery and...

This certainly isn't the first motion picture to focus on father/daughter bonding, nor will it be the last. But I'll Do Anything has the distinction of being enjoyable and entertaining, while bringing a new twist or two to an old subject. No...

When contemplating a musical, whether it’s a Hollywood classic, an original screen creation, or a stage-to-movie adaptation, there are two key considerations. The first is that the film has a story worth telling and that its raison d’etre ...

The problem with An Inconvenient Truth isn't the message; it's the messenger. If the film's goal is to educate and warn about Global Warming, why use one of the most divisive political figures of the last decade as the spokesman? I don't have a p...

There's something seductive about the idea of turning one's back on civilization and all its trappings. Many of us entertain this thought during a daydream or in those gentle minutes between wakefulness and sleep, but we don't view it as the act of...

At first glance, Sue Brooks' Japanese Story appears to be an infusion of genre stories: man versus nature, a road trip, and a mismatched romance. However, while there are elements of each ingredient in the movie, Brooks and screenwriter Alison Ti...