Heading into the third Hangover's Memorial Day weekend release, the proposition of reviewing such a ridiculous film set off a competition of sorts between critics who have each tried their hardest to criticize the movie in the most excoriating way possible. Let's award some prizes.
I've been something of a Terrence Malick apologist in the past, explaining to detractors why the plodding pace of The New World is just right, why the long origins-of-the-universe segment of Tree of Life is a vital burst of genius, but I'm afraid I'm out of excuses with To the Wonder.
Unfolding like a juicy, sprawling novel, Derek Cianfrance's expertly pitched melodrama trades in a haunted feeling of inexorability and the regret that follows. A deeply felt, classically tinged saga, The Place Beyond the Pines is, for my money, so far the best film of 2013.
Today we review the new comedy Identity Thief.
Oscar contender Jessica Chastain has a new ghost movie, Mama, out this weekend, and we have so many questions.
So much of this movie is real, and in new and surprising ways, which makes it newsy and relevant here and now, three weeks before its release. A review of Kathryn Bigelow's thorough and satisfying depiction of the most famous manhunt of our time.
Andrew Dominik's heavy-handed caper tries to make a lot of very important points, including maybe that there is no point, which is ultimately kind of pointless. Or at least disappointing.
The Twilight Saga: Breaking Dawn Part 2 is the final film in the franchise and the only one that really entertains.
A review of Silver Linings Playbook, the movie where Bradley Cooper finally shows us what he can do.
Today we review two new movies, the sci-fi actioner Looper and the college a cappella comedy Pitch Perfect
The summer's most beguiling mystery isn't what those curious Prometheus aliens are up to, it's not Bane's plans for Gotham City. No, the most intriguing question of the season is what happened in a town outside of San Antonio back in the mid-1990s, when a thirteen-year-old boy went missing, only to astonishingly reappear in Europe four years later.
There are two scenes in Prometheus, Ridley Scott's new hotly anticipated sci-fi thriller set in the same universe as Alien, that are so masterfully choreographed and so terrifically unnerving that I'm tempted to declare the film a rousing success based on them alone and be done with it.
There is at least this to be said for Snow White and the Huntsman: In a summer of sequels and mashups and reboots of recent films, this dark and serious take on the classic witchy, dwarfy tale feels refreshingly original, ambitious, and earnest.
Moonrise Kingdom isn't the only blue rumination on age and time opening in theaters this weekend. No, there's also Men in Black III, an ostensible sci-fi comedy caper that is actually a sighing contemplation of regret and the random bits of chance that shape our lives. Honestly!
After five long years since Wes Anderson gifted a live-action film unto the world, Moonrise Kingdom (opening in New York and Los Angeles this Friday), is such a welcome relief.
Today we review two contrasting films, The Raven and The Five-Year Engagement.
Today we review two movies about romance, The Lucky One and Goodbye First Love.
Today we review two new movies based on faded youth, the American Pie gang getting back together for American Reunion and Whit Stillman's revisiting college life with Damsels in Distress.
This morning we released our ranking of America's most cantankerous film critics, and since then, several people, including winner Kyle Smith of the New York Post, have asked why longtime New York City critic Armond White was left out of our contest.
Call it brash independence, a unique way of seeing, or simple cantankerousness, but it's often struck us while reading film reviews that some critics enjoy going against the grain. We crunched some numbers to crown America's most cantankerous film critic.
Today we review two new supernatural movies, Chronicle and The Woman in Black.
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