‘Taken’ movie review: Liam Neeson an unlikely, but rock-solid, action hero
Taken is the kind of movie you might expect to see from a Bruce Willis or Jet Li. But no, here’s Liam Neeson
October 15, 2008
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Taken is the kind of movie you might expect to see from a Bruce Willis or Jet Li. But no, here’s Liam Neeson
An exhilarating return to form for Peter Greenaway, Nightwatching is easily the cult director’s best film since 1989’s The Cook, the Thief, His Wife & Her Lover
Tropic Thunder is the kind of outrageous no-holds-barred comedy that really works because it manages to keep its smarts while being so dumb
Hellboy II: The Golden Army compensates for what was missing in the first film and then some
The Orphanage is a first-rate thriller/ghost story that survives a plodding midsection by providing an eerie, Hitchcockian atmosphere
Martin Scorsese’s Shine a Light is the next best thing to seeing the Rolling Stones live in concert
Forgetting Sarah Marshall hits every note right – except for one unfortunately crucial one
Ignore the cynics: Indiana Jones and the Kingdom of the Crystal Skull is a film for pulp lovers, a throwback to old Republic serials and Errol Flynn adventures
Paris je t’aime (Paris, I Love You) is about as good as this kind of thing can get
Iron Man is second only to Spider-Man 2 as the best translation of a Marvel character to the big screen yet
Sean Penn’s Into the Wild serves as a cautionary tale against the dangers of a nature we, perhaps, don’t know enough about as we should
In the Valley of Elah is an investigative drama that doesn’t quite reach the aspirations of its true-life story
Control profiles Joy Division singer Ian Curtis, who killed himself at age 23 in 1980, just as the post-punk band was rising to fame
3:10 to Yuma underscores its compelling tale of bringing an outlaw to justice with a psychological battle of wits and morals
Charlie Wilson’s War seems to have everything going for it. But there’s one fatal flaw: it’s too short
The Kite Runner succeeds in accurately retelling the book’s compelling story even though it occasionally falters along the way
We Own the Night is a compelling if conventional cops and dealers story that hits enough high points to make it shine, if not soar
Sweeney Todd: The Demon Barber of Fleet Street just might be director Tim Burton’s masterpiece
Ang Lee´s Lust, Caution tells an intimate-yet-detached story of seduction
Director David Cronenberg re-teams with A History of Violence star Viggo Mortensen in Eastern Promises
American Gangster comes so close to becoming a masterpiece that one can almost taste it
There’s a level of art in Beowolf sorely missing from most computer-generated animation
Julie Taymor’s Across the Universe is a wonderful low-key musical comprised solely of Beatles music
Sicko contains the strengths and weakness of Michael Moore’s other recent work