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For years now, there have been discussions about a sequel to the surprise 1990 romantic comedy blockbuster, Pretty Woman. Aside from once again propelling Roy Orbison's title tune up the pop charts, that film had the distinction of establishing Ju...

Many years ago, during the Golden Age of Hollywood, the motion picture industry practically ran on star power. These days, in large part because of skyrocketing salaries, it's unusual to find more than one high-profile performer in any given motio...

Shall We Dance? is a remake of the 1997 Japanese feature by the same name. Penned and directed by Masayuki Suo, that film was an unexpected pleasure - a feel-good feature that wasn't weighed down by the unnecessarily cloying melodrama and manipula...

Shall We Dance? proves that Japanese film makers can fashion charming, feel-good movies every bit as effective as their Hollywood counterparts. Unlike the Australian comedy, Strictly Ballroom, which used ballroom dancing competitions as arenas f...

A couple of cliches come to mind while watching Danny Boyle's deliciously diabolical feature debut, Shallow Grave. The first -- that money is the root of all evil -- is obvious. The other -- that it's always the quiet ones who bear the closes...

Since they burst upon the motion picture scene with Dumb and Dumber, the Farrelly Brothers, Bobby and Peter, have been known as the Kings of Vulgar Comedy. So, given the Farrellys' reputation and a title with the word "shallow" in it, one might ea...

The Shallows is almost a good movie. It misses by this much (hold thumb and index finger apart by an inch). For 75 of its 85 minutes, it’s a gripping woman-against-nature tale with tough, determined Nancy (Blake Lively) facing her own infirmiti...

It would be fair to say that Skyscraper does what it sets out to do but the unambitious agenda isn’t something I’m especially interested in watching. A dumbed-down Die Hard with a Towering Inferno infusion, the film exists solely as a showca...

They Shall Not Grow Old, the first nonfiction venture by The Lord of the Rings’ director, Peter Jackson, represents a startling trip through a time capsule into a world that, in both a real and existential sense, no longer exists. A collage ...

It is possible to gather a star-studded ensemble cast and make a frothy, delightful movie about love in its many guises. Richard Curtis did it with Love, Actually and a parcel of international directors accomplished something similar with the duet...