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Spoilers! Nothing is explicitly revealed but something is implied. For about a half-hour, Tully is damn near brilliant. An incisive, relentless takedown of the myth of new parenting, Diablo Cody’s screenplay highlights the incessant crying, ...

Up in the Air is a wonderful little film (the word "little" being relative, of course). It was the best thing I saw at the 2009 Toronto International Film Festival, and it stand up as well away from the peculiar atmosphere of the festival as it di...

Finally, the entire Barrytown Trilogy has made it to the screen. The process started back in 1991, when Alan Parker made The Commitments. It continued in '93, when Stephen Frears filmed The Snapper. Now, with the addition of 1996's The Va...

A general rule of summer film watching is to beware any August release featuring a major star. The only reason for a distributor to hold back such a production is a lack of faith in the picture's ability to succeed in the highly-competitive early ...

Maybe I just don't understand the French sense of humor. After all, they think Jerry Lewis is a comic genius. Whatever the reason, I rarely find "lowbrow" French comedies more than passably watchable (and, in the case of Little Indian, Big City, ...

“Weird” Al Yankovic took popular songs of the day and reworked them in his own image, using new lyrics to craft something that was both familiar and different, existing somewhere between satire and outright farce. Is it any surprise, then, tha...

The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortuna...

When We Were Kings, a documentary about the Muhammad Ali/George Forman heavyweight "Rumble in the Jungle" boxing match, is a wonderfully nostalgic, and occasionally insightful, window into an event nearing its 50th anniversary. By nature, ho...

White House Down is what it's advertised to be: a Roland Emmerich Film. Those familiar with the director's work won't be surprised by anything in the movie. It follows the Emmerich template: a spectacle-tinged, compelling setup; a dumb, disappointi...

After scoring big with his live-action adaptation of Aladdin for Disney, Guy Ritchie returns to more familiar territory with Wrath of Man, an English-language remake of the 2004 French revenge thriller, Le Convoyeur. Accompanying him on this b...