The extra ‘K’ that makes the movie’s title look ridiculous is emblematic of what’s wrong with the film as a whole: it ends up being an unnecessary and distracting detraction.
Legend, myth, storytelling, preservation of memory — these ideas constitute the thematic heart of ‘The Sandlot.’ For its 25th anniversary, the film returns to theaters July 22 and 24.
Kayla is being raised by her single dad, who adores her with every fiber of his being, but just can’t figure out how to make her see what he sees in her.
Not many actors and actresses running around these days can generate wide-ranging interest by their mere involvement. But The Rock almost always does.
The film worked well as a thriller but it’s clearly inferior to the original. It exposes the Gordian knot at the heart of our border troubles, but doesn’t cut it.
Not since Roger Moore’s turn as James Bond has an actor sleepwalked through a film like Rudd has here.
Not only does the movie get its themes confused when it comes to the villain, its plot is an embarrassment.
The new horror film ‘Hereditary’ is hyperbolic in its honesty over what our family line can do to us.
There are loads of differences between the cases, but what they have in common is convicting white men of crimes against women based on scanty evidence.
At every point in the movie, the combination of star power, talent, tiredly thumbing noses at the patriarchy, and a daring robbery underwhelms.
The long-awaited all-female follow-up to the beloved Ocean’s series is an absolute mess, complete with gaping plot holes, and a completely flat story.
British writer-director Bart Layton designed this thrilling heist film around the candid interviews of the four thieves themselves.
At first dejected by his rapidly deteriorating circumstances, Rev. Toller replaces God with dark obsession, and vanishes into his basest impulses.
‘Pope Francis’ is a disturbing film, not solely for its exaltation of Francis and his politics but more so for having been planned from the beginning of his ascent to office.
Despite all of the mess and controversy, Ron Howard, Kathleen Kennedy, and the folks at Lucasfilm have made a fun and entertaining Star Wars film.
That the film paints Malthusian calculus in such an unflattering light just as a wave of editorials are confessing the unrealized horrors of population panic is one heck of a coincidence.
It’s not about individualism, it’s not about rugged heroes or implausible survivors—it’s about a mother, a father, and their children. All the fear stems from our need to protect what we love the most.
I don’t think anyone would have ever guessed that the guy who played Jim Halpert on the U.S. version of ‘The Office’ might have anything to do with a discussion of essential horror filmmakers.
A lot of reviewers see ‘Chappaquiddick’ as a long-overdue look at the cowardice of a man who lived 40 years basking in adulation as the ‘lion of the Senate.’ I’m not so sure.
In this grim noir thriller, Joaquin Phoenix plays the disconnected loner Joe as a sadder and more tragically human version of Robert De Niro’s Travis Bickle from 1976’s ‘Taxi Driver.’
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