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If elements of 1408 seem a little familiar, it shouldn't be a surprise. Here's John Cusack, once again having lodging problems (see also Identity). Here's a supernatural debunker faced with something that refuses to be debunked (see also The Reap...

If you take away Albert Nobbs' twist, all that's left is a project that would have been at home on Masterpiece Theater during its heyday. It's the "downstairs" portion of Upstairs, Downstairs - a tale of servants and service during the twilight of ...

Mira Nair's Amelia is a by-the-book bio-pic. By following the template, it's as safe and straightforward as one could possibly get, without narrative flourishes and with minimal exaggeration to satisfy Hollywood's appetite for fictionalization. Th...

Over the past couple of years, Marvel Studios has ridden the crest of an incredible wave, culminating in the 2018 one-two punch of Black Panther and Avengers: Infinity War. A drop-off was perhaps inevitable but I doubt anyone expected it to be ...

It's amazing how a lifeless, pointless remake can provoke pangs of nostalgia about a mediocre movie. Such is the case with Arthur. The kindest thoughts I have ever experienced about the 1981 original occurred while I was watching Russell Brand and...

When MGM elected not to screen Autumn In New York for film critics, the decision touched off a minor controversy. First, stars Richard Gere and Winona Ryder spoke out publicly against this move, claiming it was an insult to the integrity of their ...

When I think of a “Jason Statham movie,” I think of The Transporter. Or Crank. Or The Mechanic – all relatively mindless (but enjoyable) thrillers that understood the appeal of their deadpan leading man: his ability to give and take physical ...