‘Moon’ movie review: Sam Rockwell in Duncan Jones’ affecting space odyssey
A nifty little piece of science fiction, Duncan Jones’ Moon works on the same level as the best of the genre
March 31, 2010
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A nifty little piece of science fiction, Duncan Jones’ Moon works on the same level as the best of the genre
Babylon A.D. has the germ of some potentially fascinating material, but it’s all thrown into a blender and the resulting film completely lacks cohesion
Fish-out-of-water, opposites-attract, throw some more stale clichés in the pot and you’ve got the wretched Leap Year
Remember Me lives and dies by its ending, a bold and provocative move by director Allen Coulter and screenwriter Will Fetters
Legion takes the old Night of the Living Dead/Assault on Precinct 13 formula and adds a biblical twist.
The Lovely Bones is also an incredibly misguided film that feels icky and unpleasant and all sorts of wrong
Mammoth is not as good as Moodysson’s earlier films, and has a newfound preachy vibe that feels like it was lifted from Crash
Dear John is a little different the the usual Nicholas Sparks adaptation, but only in the details: the schmaltz is poured on even thicker, to even less effect
Daybreakers has grisly splatter effects, obligatory action sequences, and a look that borrows from other recent sci-fi films
And at worst, Nine is a masturbatory vanity project and an insult to Fellini
Alice in Wonderland for the Lord of the Rings/Chronicles of Narnia crowd, complete with a battlefield action climax
The Hurt Locker was the best film of 2009, and one of the best of the decade
Shutter Island is a maddening film, an exquisitely made but frustratingly generic thriller that only eventually rises above its source material
In Edge of Darkness, director Martin Campbell returns to familiar ground: his well-regarded 1985 BBC miniseries.
Valentine’s Day is an adequate, pleasant-enough date movie, but it’s utterly unmemorable in almost every detail
The Wolfman, a more or less straight-faced remake of the 1941 Universal horror film, is not a particularly good movie
In Search of a Midnight Kiss is an intriguing little L.A.-based indie that slowly grows on you and becomes more affecting along the way
The Book of Eli is a good-enough entry into the post-apocalyptic genre that nevertheless leaves you longing for something better
Did You Hear About the Morgans?, one of the very worst films of 2009, is an objectionably awful romantic comedy
The Box, starring James Marsden and Cameron Diaz, marks director Richard Kelly’s return to Donnie Darko territory
Jim Sheridan’s Brothers is virtually the same movie it was in 2004, and it will appeal to precisely the same audience
Michael Moore’s Capitalism: A Love Story fits right in with the rest of director’s work, almost too snugly
At least half of New York, I Love You is unbearable, and only one 7-minute segment is really worthwhile
There’s some stuff in The Fourth Kind that really works, and the central conceit could’ve been pulled off under different circumstances