Meg Quinn-DeBoer gives "Get Low" high grades thanks to performances by Bill Murray and Robert Duvall.
Two reproductive romantic comedies out this year look like twins on the surface. Both feature beautiful Jennifers in starring roles. They also share a major plot point – the “artificial” approach to motherhood. But only one has Jason Bateman – who manages to inseminate some much-needed charm and wit.
"Going the Distance” opens with an average-looking Garrett (Justin Long) getting dumped by a hot girl (Minka Kelly). Hours later, he meets Erin (Drew Barrymore) at a bar. They bond over a pitcher of beer and go home together. Six weeks later, she moves back to San Francisco and they decide to do the long-distance thing.
“The Tillman Story”: He was brilliant that night, popping up all over the field, playing with heart and controlled recklessness. He even recovered an Ahman Green fumble late in the fourth quarter to ensure a shutout over a team that one year earlier ran up 77 points on the three-touchdown underdogs. He would go on to have a remarkable season that ended in a last-minute loss to Ohio State in the Rose Bowl. It was the team’s only defeat and cost the Sun Devils a national championship.
If you savor gangster pictures in the style of Scorsese and De Palma, make a quick getaway to “Mesrine: Public Enemy No. 1,” the conclusion to Jean-Francois Richet’s two-part biopic about the notorious French felon Jacques Mesrine, widely considered to be the Gallic equivalent of John Dillinger.
If you’re a fan of crime dramas, but you’ve grown tired of the familiar rhythms of “Law & Order” and “CSI,” allow me to recommend — highly recommend — “Red Riding.”
Real-life lovers Drew Barrymore and Justin Long are cast as a couple struggling to maintain a long-distance relationship in this R-rated romantic comedy.
“The Expendables” was awful, and the guy who was the best man at my wedding owes me $10.50 and about 90 minutes. Everyone loves lists. Here’s a list of reasons “The Expendables” was terrible, aside from the obvious “It had no choice.”
Like Clint Eastwood before him, George Clooney possesses the chiseled looks and hypnotic eyes meant for spaghetti westerns. No dialogue is required because mere expressions convey every emotion simmering beneath his ruggedly handsome face.
The plot is paper thin. The writing is atrocious. The violence is senseless. The action is unbelievable. And the heroes – and villains – are expendable in every way (meaning I simply couldn’t care less who lived or died). But this flick’s flaws are what make it fun. If you bought a ticket to “The Expendables” expecting anything more or less, you just weren’t paying attention. The poster, for crying out loud, features a skull framed by wings of machineguns and mega knives.
Remember when Rob Reiner used to win Oscar nominations instead of jeers for his films? Nope, I can’t remember, either. But the man formerly known as “Meathead” is trying to make a comeback with this coming-of-age yarn about two mooning tweeners (Callan McAuliffe and Madeline Carroll) discovering first love.
For more than a decade, Rob Reiner's directorial career has been as cold as a cadaver on a morgue slab. His resume has included "Rumor Has It..." "Alex & Emma," "The Story of Us" and "North," films that the public, critics or both found as enjoyable as a prostate exam. Considering his films before this dry spell included "This Is Spinal Tap," "Stand By Me," "When Harry Met Sally," "The Princess Bride" and "Misery," that's quite a comedown.
Sly Stallone’s sham action flick “The Expendables” topped the box office take with $16.5 million. Sly, you sir are a liar and a fraud. Second place was another joke — “Vampires Suck.”
He’s the cover guy for the August issues of Ebony and Upscale magazines, and the message board posts call the photos of British actor Idris Elba “steamy,” “smoldering” and “yum.” However, sitting in a meeting room at the Ritz-Carlton in Boston to promote his latest film “Takers,” Elba is more guy next door than sex symbol. He looks like any guy you might see walking around town. Except he’s not. He’s Stringer Bell – the drug kingpin from “The Wire.” He’s Mumbles from Guy Ritchie’s “RocknRolla.” And he’s the guy who caused the cinematic cat fight between Beyonce and Ali Larter in “Obsessed.”
More so than any film in recent memory your enjoyment of “Scott Pilgrim vs. the World” hinges entirely upon what generation you’re a part of. It’s a nonstop barrage of pop culture references, and it is filled to overflowing with video game throwbacks and comic-book storytelling. It speaks very specifically to one age group; if you were born during the 1980s, you’re in the wheelhouse.
As cartoonist Robert Crumb explains at the beginning of the documentary “Crumb,” he’s most famous for three things: that “Keep on Truckin’” drawing, the cover of Janis Joplin’s “Cheap Thrills” album and the X-rated animated cartoon “Fritz the Cat.”
Even if you don’t give an Aswan Dam about Egypt, it’s hard not to be swept up by the grandeur of one of its most beautiful and mysterious metropolises in “Cairo Time.”
First there was “The Nanny Diaries.” Now we have what can best be titled “The Nanny Diarrheas,” or as image-conscious Universal Pictures prefers to call it, “Nanny McPhee Returns.”
Here's the good news: "The Switch" is better than Jennifer Aniston's last romantic comedy, "The Bounty Hunter." Here's the bad news: A test pattern would have been better than "The Bounty Hunter."
“Nanny MacPhee Returns” would pass unnoticed on my radar if not for the very clear and present danger it represents to Mr. Flicks’ home life with regard to Mrs. Flicks and her BFF (Best Flicks Friend). When Nanny comes around, so too do the British accent and cries of “Nanny!” ringing through Flicks Manor. It’s a special, if short-lived torture no amount of immaturity on my part can stamp out.
