The best comedy of its kind since "Superbad," Wilde’s slick, unpredictable romp can sometimes feel like several movies at once. This riotous, candy-colored celebration of sisterhood is so dense with anarchic developments it often threatens to collapse into itself, but avoids lingering on any gag long enough to let that happen.
Stearns’ tone involves a tricky negotiation between the melancholy and the macabre. “The Art of Self-Defense” doesn’t always pull that balance off, but it has enough ambition and wacky payoff to make the zany gamble worthwhile.
“Long Shot” turns its endearing couple into a savvy vessel for exploring America’s fractured times. As Rogen’s shaggy humor finds its match in Theron’s domineering energy, “Long Shot” is overlong and rough around the edges, but its imperfections speak to an endearing knack for the messiness of modern times.
A brilliant home-invasion thriller laced with cultural reference points stretching back to the late ’80s, and a smorgasbord of first-rate visceral cinematic scares. Think “Funny Games” collided with Cronenbergian body horror and Hitchockian suspense, and you’re maybe halfway there.
None of the pretty imagery or impassioned lovemaking can break free of a mopey old formula that sits on every scene with the same schematic quality that makes its weary setting so familiar from the start.
"The Tomorrow Man" suggests "Take Shelter" by way of "It’s Complicated," an unseemly combination that never quite gels. But the actors work overtime to mine substance from the material, and Jones gives them plenty of room to rescue this curious movie from complete oblivion.
Piercing too often gets lost in the fog of its deranged characters, but just as frequently transforms their lunacy into a heightened form of escapist entertainment. In a movie where everyone’s crazy, “Piercing” makes their malady infectious.
Buoyed by a brilliant transformation by Christian Bale, it offers a smart and detailed overview of Cheney’s elaborate ruse to exploit the country’s highest authority, but undercuts its authority with crass and often clunky humor that overstates the nature of Cheney’s villainy. Lame jokes just get in the way when the bad guys are hiding in plain sight.
This slick and involving sequel finds Adonis continuing to work through the weight of his father’s death in the ring, follows all the familiar motions revived with Creed. But in the context of this resilient franchise, the movie hits each beat with the calculated precision of its tireless fighter.
Amazing Grace is soulful ear candy. But Franklin’s sweaty, impassioned delivery, which galvanizes her audiences with an electric charge, extends her awe-inspiring musical convictions beyond religious euphoria. It’s a rousing portrait of creativity as a unifying force.