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While watching Dear Evan Hansen, I was reminded of the 1994 film I’ll Do Anything. Originally designed as a musical (with eight songs by Prince), the decision was made in the editing room to release the Nick Nolte vehicle as a straight drama...

Dear Frankie, the feature debut of director Shona Auerbach, is a cinematic definition of mediocrity. Neither awful nor impressive, it features moments of genuine power and instances when it is cloying. The end result is an unremarkable, unmemorab...

At least after seeing this movie, I understand where the title came from -- starting about thirty minutes into this interminable, unfunny feature, I began looking at my watch every few minutes and thinking, "Dear God, is this ever going to end?...

Dear John delivers pretty much what one would expect from an adaptation of a Nicholas Sparks novel: a high-profile downer of a Harlequin romance. There's a market for this sort of movie, which lays it on thick and does everything possible to make ...

There have been some great mistaken identity films over the years – The Life of Brian, The Big Lebowski, Being There, North by Northwest. From these titles, it’s clear that the concept is pregnant with possibilities and, in the hands of a c...

Jane Austen, considered by many literary critics to be among the first of the "modern" writers, is perhaps best known for creating believable, strong-willed, independent female characters in an era when women in books were often little more than wi...

Warning: As with most retrospective reviews, this reveals key plot points. Spoilers abound.Undoubtedly, one of the reasons why James L. Brooks’ feature debut, the three-hankie weeper Terms of Endearment, won the Oscar for Best Picture is tha...

History has decreed that Umberto D., a 1952 film from celebrated Italian director Vittorio De Sica, is one of the best representations of neo-realism committed to film. (Ingmar Bergman called it a “favorite movie” and Martin Scorsese labeled i...