Postcard from Venice: On John Woo, Tsui Hark and the Glorious Nuttiness of Detective Dee
Two nights ago here in Venice, John Woo received a Golden Lion lifetime-achievement award, which may not mean much to people who have seen only his American movies. In…
Postcard from Venice: Michelle Williams (and Her Sunbonnet) Takes the Day in Meek's Cutoff
I don't know about you, but even when I haven't been immersed for days in the beauty and sophistication of a city like Venice, I want to head for the hills whenever I…
Postcard from Venice: Sofia Coppola's Somewhere Tranfixes, Julian Schnabel's Miral Disappoints
Film festivals aren't always the glamorous affairs they're made out to be. Aside from the usual red carpet action, at most festivals it's unusual to see famous types out…
Postcard From Venice: Black Swan Could Stand to Go Even Blacker
The hardest thing about being an American critic covering a European festival is that almost anything you write is bound to smack of "I'm here, in a fantastic European…
REVIEW: George Clooney, The American Prove They Do Make Movies Like They Used To
Anton Corbijn's The American looks and feels like a movie made by a filmmaker who hasn't been to the movies since the '70s -- and I mean that as the highest compliment…
REVIEW: Handsome Takers is Nothing But a Stuffed Suit
Takers is a sterling example of how a movie can take a basic, appealing idea -- bank robbers who plan their infrequent crimes so meticulously they never get caught…
REVIEW: Wild Piranha 3D Revels In Joys of Pure Exploitation
There's a degree of gruff integrity at work for at least two-thirds of Alexandre Aja's grindhouse piranhapalooza Piranha 3D, in which a megaschool of man-eating fish…
REVIEW: Jason Bateman Comes Into His Own in The Switch
Despite the movie's ad campaign, The Switch isn't Jennifer Aniston's movie, and even she seems to know it. This picture belongs to Jason Bateman, who, after years of…
REVIEW: Powerful Tillman Story Explores the PR War Behind the War
If you have any sense of how the U.S. military protects both its own and itself -- its image, its insularity and its sense of entitlement -- very little in Amir…
REVIEW: Fatih Akin Returns With Delicious, Exhilarating Soul Kitchen
Sometimes when I feel lost in the darkest thickets of professional moviegoing -- after hacking through, say, a particularly bad patch of uninspired romantic comedies…
REVIEW: Two Out of Three Isn't Bad For Gorgeous, Globetrotting Eat Pray Love
There are three kinds of women in the world: Those who refuse to read Elizabeth Gilbert's mega-girly, mega-best-seller 2006 memoir Eat Pray Love; those who will damn…
REVIEW: Sylvester Stallone and Co. Make Tired Gruntwork of Expendables
In Sylvester Stallone's boneheaded action extravaganza The Expendables, it's not just the characters who are expendable: The actors may as well be tossed out with the…
REVIEW: Sexless Geek Isn't as Heroic, Romantic as Scott Pilgrim Thinks
Everyone has the right to love the relics of his or her childhood: PacMan as opposed to Grand Theft Auto, Teenage Mutant Ninja Turtles over Dora the Explorer, New Kids…
REVIEW: Patricia Clarkson Leads Lustrous Cairo Time
Cairo Time is the kind of slender, willowy picture that could easily be dismissed as inconsequential, maybe even laughable: A fiftyish magazine writer, Juliette…
REVIEW: Other Guys Leaps to the Head of the Summer Comedy Class
Adam McKay's comedy The Other Guys has a lot going for it: Even though it mines perennial cop-buddy-movie material, it doesn't feel generic or strained, and unlike other…
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