Shailene Woodley, who can do no acting wrong, brings a welcome reality to "The Fault in Our Stars," a perfectly serviceable teen date picture that teenage girls will have to bribe teenage boys to sit through.
In this year’s annual Tom Cruise sci-fi epic, he plays a future soldier condemned to repeat the same botched D-Day invasion until he triumphs against the alien beasties who keep killing him and forcing him to start this waking nightmare again.
"Million Dollar Arm" is a baseball movie that pulls off a smooth triple play. It's a character-based comedy drama that's also a smart film about the business of sports. As if it weren't difficult enough to work that double angle, there's also an exotic international focus. The story focuses on immigrant players struggling with social disorientation and homesickness, an underreported aspect of the game that has caused many a gifted recruit to fail. And by the way, it's all based on a true story.
The "Godzilla" reboot perfectly illustrates the problem that has long haunted mediocre monster movies. When the big, scaly guys are on screen, it's a fun thrill ride. But when the humans are at the center of the action, things get scary — and not in a good way.
“Neighbors” is an “Animal House” for “The Hangover” era, a frat-boy comedy that pushes the rude and raunchy envelope into daring and dirty new territory. Hilariously coarse, reasonably shrewd and clumsily sentimental, there’s no reason it won’t earn a billion and inspire a whole new generation of party-hearty “bros” to go Greek when they go to college.
The superhuman efforts director Joe Johnston made to persuade Chris Evans to re-enlist in the comic book movie universe as “Captain America” pay more dividends in “Captain America: The Winter Soldier.”
All those years of packing his resume with "long-suffering" reasonable guys forced to do the slow burn when confronted by irrational family, bosses or identity thieves must have gotten to Jason Bateman.
“Divergent,” the latest outcast-teen-battles-The System thriller, is similar enough to “The Hunger Games” that hardcore Katniss fans may dismiss it. But it’s a more streamlined film, with a love story with genuine heat and deaths with genuine pathos.
We should all be so lucky as to live in a world designed, peopled and manipulated by Wes Anderson. His latest film, “The Grand Budapest Hotel,” is a dark, daft and deft triumph of design details. From the purple velvet with red piping hotel uniforms to the drinks, colognes and artwork of Europe between the World Wars, Anderson ensconces his eccentric characters and us in a time of baroque, imaginary 4-star hotels run on what used to pass for 4-star service.