‘Ondine’ movie review: Colin Farrell in mermaid drama from Neil Jordan
Ondine is a highly watchable film, well-paced and interesting throughout, but it’s also strangely aloof
September 1, 2010
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Ondine is a highly watchable film, well-paced and interesting throughout, but it’s also strangely aloof
Step Up 3D features camerawork and editing so polished and conventional that it may as well be a golden age movie musical
When You’re Strange offers up little new for fans of The Doors, telling the familiar story of sudden rise and fall of the band from 1965-71
Get Him to the Greek is worth seeing for one extended Las Vegas sequence that reaches Marx Bros. levels of lunacy
Bunny and the Bull features a small cast of characters interacting with a backdrop of paper cutouts, still images, and tinker-toy sets
Agora is set in Alexandria at the end of the fourth century A.D., when Christianity overtook other religions
The Rebound an entirely effective and affectionate movie, and one of the best romantic comedies in recent memory
Letters to Juliet is quite wonderful in that soapy, schmaltzy, teary-eyed Hollywood way
Solomon Kane is a good-enough sword-and-sorcery tale, brutal and moody and atmospheric
Precious is the most mainstream version of this story imaginable, with style to spare and darkly humorous fantasy sequences
Brooklyn’s Finest is a perfectly decent cop movie, the only problem being that we’ve seen it all before, usually cheaper and better on TV
Whatever Works is Woody Allen’s best straight comedy in years – at least since 2000’s Small Time Crooks
Robin Hood is good-enough entertainment, made by capable filmmakers, tightly scripted by Brian Helgeland
Iron Man 2 is very nearly as good as the first installment, and in some ways, it’s better
The Men Who Stare at Goats is more than a bit of a mess, but there’s a lot of good here and some fun performances
Remember Me lives and dies by its ending, a bold and provocative move by director Allen Coulter and screenwriter Will Fetters
Mammoth is not as good as Moodysson’s earlier films, and has a newfound preachy vibe that feels like it was lifted from Crash
Daybreakers has grisly splatter effects, obligatory action sequences, and a look that borrows from other recent sci-fi films
In Edge of Darkness, director Martin Campbell returns to familiar ground: his well-regarded 1985 BBC miniseries.
The Book of Eli is a good-enough entry into the post-apocalyptic genre that nevertheless leaves you longing for something better
Jim Sheridan’s Brothers is virtually the same movie it was in 2004, and it will appeal to precisely the same audience
Scott Sanders’ Black Dynamite, a pitch-perfect satire of 70s blaxploitation flicks, is just a little too accurate
The Imaginarium of Doctor Parnassus is an undeniable return to form for Terry Gilliam, a fantastically imaginative piece of work
David Mackenzie’s Spread is a surprisingly effective drama and not the broad Kutcher vehicle that trailers and advance word might have implied