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As a film, “The Big Sick” is an unconventional addition to a long tradition of romantic comedies with memorable protagonists that include the likes of “When Harry Met Sally,” “Bridget Jones’s Diary” and “Notting Hill.” Kumail Nanjiani stars as Kumail, a character based on his early life as a standup comic who falls in love with psychology graduate student and quintessential girl next door, Emily, a somewhat underutilized Zoe Kazan, who is based on Nanjiani’s wife in real life, Emily Gordon.
The Vietnam War doesn’t fit neatly into American folklore.
In this era of sequels, reboots and remakes, who would have thought that “Trainspotting” would get a second chance to shine.
Honestly, I should have known how much I would dislike “Table 19” just by looking at its film poster, which is designed to look like an Instagram post.
“The Lost City of Z” is one of the most confounding cinematic experiences I’ve had in some time.
In 2011, shortly after the resignation of former Egyptian president Hosni Mubarak, Egyptian surgeon Bassem Youssef created a satirical web series in an attempt to heal his country through comedy.
“Gifted” will be the third consecutive film that I’ve given a negative rating. I want to make it absolutely clear that I don’t enjoy that fact in the slightest. Roger Ebert, the grandfather of film criticism and one of my key inspirations, wrote in his book, “Your Movie Sucks,” the following: “Some of these reviews were written in joyous zeal.
Like the film I reviewed last week, “Ghost in the Shell” is a live-action remake of an animated classic.
Walt Disney Studios’ new live-action remake of “Beauty and the Beast” is undoubtedly one of the year’s most anticipated films.
Many film reviewers, myself included, would argue that we are currently in the midst of a “golden age” of superhero cinema.
“Get Out” begins with a beautiful, stylistic long take following an African-American man trying to navigate a suburban neighborhood in the middle of the night.
After last year’s “Oscars So White” controversy, I didn’t think a more uncomfortable Oscar ceremony would be possible.
The first few minutes of “The LEGO Batman Movie” are some of its funniest. As the audience stares at an empty screen waiting for the film to start, Batman (Will Arnett) informs us in a voice-over that all great movies start with a black screen and edgy music that makes parents and studio executives feel uncomfortable.
If “Manchester by the Sea” was a fairy tale, it would be the most downbeat one you’ve ever heard.
British film critic Mark Kermode once said of “Pan’s Labyrinth” that if a film that good were to be released every 10 years, then he would happily carry on being a critic forever.
After watching “Oldboy” and “The Handmaiden,” I think it’s fair to say that director Chan-wook Park, who directed both films, has a fascination with extremes.
I love “Star Wars.” I always have, and I always will. And, like most fans, I was deeply impressed by how well Disney and J.J.
Within the world of film, the Academy Awards (Oscars) represent the pinnacle of an actor or actress’s career.
Who would have thought that the most impressive science fiction film of 2016 would not be “Rogue One: A Star Wars Story” but instead Denis Villeneuve’s thought-provoking, psychological and deeply moving “Arrival.” Villeneuve has already proven himself to be an extremely talented director with films like “Incendies” and “Sicario.” Despite this, I was skeptical when early reviews called “Arrival” a new sci-fi masterpiece.
Because its story simply isn’t conducive to that approach, “The Girl on the Train” pales in comparison to other great films, leaving it to slink into cinema’s corner of obscurity.