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On the surface, Crazy Rich Asians and Sex and the City couldn’t be more different but, if you dig deep enough into their respective DNA’s, there’s a common thread: the love of conspicuous consumption. Heard the term “First World probl...

Crazy, Stupid, Love. tries to rise above the unremarkable level of the generic romantic comedy. In almost every way, from structure to tone to the nature of the love stories, it strives to be more. And, while all its gambits are not successful, the...

Maybe it's just wishful thinking, but I believe Hollywood has a tendency to underestimate the teenage viewing crowd. While it's certainly true that a portion of that demographic goes to theaters only for the most superficial form of entertainment,...

At first glance, Creative Control appears to be sci-fi. It takes place in the (near) future and focuses on technology that probably isn’t far from being accessible. On closer examination, however, it at times plays more like an absurdist comedy...

When a movie invites comparisons to the work of James Cameron and Christopher Nolan, it’s apparent that the director (in this case, Gareth Edwards) has done something very right. The Creator may rely on numerous common science fiction concepts b...

Terror Has Teeth! As taglines go, that pretty much tells you what to expect. Creature, a no-budget horror movie whose financial limitations are repeatedly on display, tries to get by with an oversaturation of gore and camp. Lovers of cheap, grad...

As movie-goers, we have become accustomed to seeing our screen heroes as immutable and immortal. This is in part the result of how film can freeze a moment. Humphrey Bogart will always look the way he does when saying “Here’s looking at y...

Creed II, the follow-up to 2015’s surprisingly successful Creed, runs afoul of a common problem to plague unplanned sequels: the need to match audience expectations trumps all other concerns, including creative latitude. The eighth installment...

Creed III is the first Rocky movie without Rocky. Considering the imbalance created by the Stallone/Jordan dynamic in Creed II, the decision to excise the Italian Stallion from the narrative framework makes sense. The Creed movies need to move forw...

Bart Layton’s Crime 101, his first narrative feature in eight years, falls squarely into the category of movies that should be better than they are. With an ensemble cast of this caliber—featuring Chris Hemsworth, Mark Ruffalo, Halle Berry, Ba...