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Since 1992, when Lethal Weapon 3 became an undisputed box office hit, there has been talk about a follow-up. With the possible exception of the still-unconfirmed Die Hard 4, Lethal Weapon 4 has been the subject of more (often inaccurate) rumors th...

The best thing that can be said about Life as We Know It is that it gets some of the details right when it comes to the experience of sharing a home with an infant. Still, all the poop, vomit, sleepless nights, and cute, joyous little moments can'...

The Light between Oceans is unquestionably a tear-jerker. As the film draws to its bittersweet conclusion, dry eyes will be few and far between. But, as manipulative as it is, the narrative also poses its share of intriguing philosophical questions. ...

If there’s a rule to be aware of when it comes to Sony’s so-called “Spider-Verse” movies, it’s this: If Spider-Man isn’t in it, it’s likely to disappoint. That applies to Venom, Venom: Let There Be Carnage, Morbius, and now Madame Web...

Even recognizing that it’s among the most unnecessary sequels ever made and that it exists purely because of how much money the original Mamma Mia made ($144M domestic, $610M worldwide), it’s difficult to hate Mamma Mia: Here We Go Again. I...

It's always the case that when a director does something that attracts notice (or, in some cases, notoriety), his or her next project is awaited with a degree of anticipation. This is the case with Noah Baumbach, whose The Squid and the Whale, whi...

I have never been a Raymond Chandler fan nor am I enamored with the pulp detective genre that was oh-so-popular during the early decades of the 20th century. Consequently, my only exposure to Philip Marlowe (Chandler’s most popular character) ha...

Me and Orson Welles is about the theater, or at least the theater as it was in the 1930s. Based on the semi-fictional novel by Robert Kaplow and set in New York City around the time of the opening of the Mercury Theater, the film is rich in period ...

Me and You and Everyone We Know, the winner of a Special Jury Prize for "Originality of Vision" at the 2005 Sundance Film Festival, feels like a throwback film to the American independent films of the early 1990s. Today, it's increasingly rare...

Mike and Dave Need Wedding Dates exemplifies what passes for “raunchy comedy” these days: plenty of vulgarity and profanity without many accompanying laughs. In trying to push the R-rated envelope, filmmakers have become so focused on bei...