Grounded and emotionally wrought with feelings that are all too real for thirtysomethings stuck between Gen X and the Millennial generation, Don’t Think Twice cleverly confronts failure in the best way possible: with brutal honesty and bittersweet humor.
Film Reviews
A place to find all of our film reviews.
With a strong cast and a new director in place, Star Trek Beyond stands out as one of the best big budget blockbusters of the summer — especially with the lackluster string of movies that have been dragging their feet to theaters as of late.
Ghostbusters II gets a bad wrap and is often said to have sullied the reputation of the original. While it certainly doesn’t approach the lofty heights of its predecessor, the second installment of the franchise does offer plenty of laughs.
The highly-anticipated remake has its problems, but still manages to combine Feig’s trademark comedic spirit with paranormal fun and, surprisingly, a generous dose of clever self-awareness.
Comparing Illumination Entertainment and Pixar is inevitable and this couldn’t be more evident than with their latest, The Secret Life of Pets, an adorable animated romp that is basically a Toy Story copycat with less of an emotional core.
As talented as they are, Zac Efron and Adam Devine attempt to follow in the footsteps of hysterical wedding-themed comedies of the summer, but don’t come anywhere near the hilarity or emotional connection of their predecessors.
David Yates’s The Legend of Tarzan is by-the-numbers in every way. Watching shaky cam footage of safaris on Youtube will bring more excitement to viewers than this iteration of the Lord of the Apes.
Based on the wild success of 2013’s The Purge, Universal decided to build a franchise around the premise with The Purge: Anarchy and now, just in time for the 4th of July holiday weekend, the decisively mediocre third installment, The Purge: Election Year.
Steven Spielberg’s adaptation of The BFG is a visual marvel that incorporates all the quirks of a Roald Dahl story with generic and bland adequacy.
Independence Day: Resurgence delivers dumb, big-budget alien invading action, and not much else with the void left by Will Smith hanging over the film.
As interesting Newton Knight’s story is, no one is in the mood to watch a historical war drama during peak summer blockbuster movie season. If you are, then you are lying to yourself.
With Independence Day: Resurgence set to invade multiplexes this weekend, we take a look at the original, the quintessential popcorn blockbuster that is Independence Day.
In terms of shark attack thrillers, The Shallows lands somewhere in between the Stephen Spielberg classic Jaws and the seminal Deep Blue Sea.
Whether or not you connect with the comedy, the real meat of the film comes from the story about two very different outsiders bonding while fighting for something they believe in — a moral that is relevant now more than ever.
With The Neon Demon Nicolas Winding Refn’s takes the typical small-town-girl-comes-to-the-big-city-to-make-it-big story and put his own NWR stamp on it by making it into a horror — or his version of one.
Pixar is back with a sequel to one of its earliest and most beloved films, Finding Nemo. And though this sequel doesn’t surpass the original, there’s still an ocean’s worth of magic to be found in its imaginative characters, gorgeous animation, and emotionally driven story.
Tickled may seem like a profile on those who participate in the “sport” of tickling, but as co-directors David Farrier and Dylan Reeve throw themselves into this world, they uncover a corrupt empire headed by an elusive svengali.
When two Hollywood charisma juggernauts like Dwayne Johnson and Kevin Hart combine their talents, success is imminent. Central Intelligence is testimony to that – not because it’s a groundbreaking piece of cinema, but because it is a packaged product that is guaranteed to sell.
After nine days of films, the LA Film Festival, produced by Film Independent, announced the winners of this year’s festival.
James Wan’s highly-anticipated sequel has all the scares and intensity of the first, but does not traumatize as much as its predecessor — which is not necessarily the worst thing in the world.
On the thirtieth anniversary of Ferris Bueller’s Day Off we take a look at John Hughes’ 1986 classic and explore the universal themes and lasting popularity of Matthew Broderick’s gleeful rogue.
Director Meera Menon delivers some notable moments and textbook financial thrills via Amy Fox’s script, but Equity tries too hard to be the “first female-driven Wall Street film” rather than being a dynamic film that doesn’t drag its feet.
In its own unconventional way, Chee and T tells the story of the resident obnoxious cousin in your family but with a hearty helping of dry humor, wit, and the perfect amount recreational drug use.
Pulled from Almanzar’s personal experiences and framed with Issler and Snyder’s use of Western elements, 11:55 is a captivating moral story of vengeance, family, and friendship.
Don’t Hang Up takes prank phone calls to a whole new, messed up level, but in the end, the movie seems like a really cool ’90s horror flick trying to find its place in 2016.
Clever and subversive, Opening Night pokes fun at jukebox musicals and all the big personalities living their dreams out on Broadway — but that’s the joy of the movie.
As far as tearjerkers go, Me Before You manages to keep itself from sinking too far into melodrama or feeling blatantly emotionally manipulative, approaching the line of corniness without ever actually crossing it.
If you’re a kid of the ’80s and/or ’90s and lived for coming home after school to relish in all the joy, silliness, and adventure of the original cartoon, then this sequel will awaken that nostalgia in you.
Popstar gives you everything you would expect in a Lonely Island short: music, dancing, offbeat characters, ridiculous dialogue, clever pop culture references, and most of all, a string of rhyming words that not only make us laugh, but are delightfully offensive.
When a movie’s source material is a game downloaded on smartphones, the sole purpose of which is to serve as a brief distraction, one can assume a 90-minute adaptation that attempts to stay faithful to its ‘story’ won’t translate very well.
