The stage presentation of Agatha Christie’s The Mousetrap provides a wonderful backdrop for this lightweight investigation
Saoirse Ronan is an Irish immigrant in 1950s New York City in this gentle, good-natured, Oscar-nominated drama
Wes Anderson’s dazzling WWII-era film was one of the very best of 2014
Byzantium, a gorgeously-photographed, full-bodied vamp tale, looks and feels so good that it overcomes some basic storytelling flaws
Violet & Daisy is the kind of Tarantino-esque Pulp Fiction “cool” riff they just don’t make any more – and for good reason
The Host is the kind of bad movie only a talented filmmaker can make: it’s something especially awful
Hanna litters the road with a number of subtle pop culture references, dark humor, and just a slightly twisted sensibility
Peter Weir’s The Way Back is a great story, well-told, presenting a grueling experience in a respectable but palatable manner
The Lovely Bones is also an incredibly misguided film that feels icky and unpleasant and all sorts of wrong
An amiable little family-friendly sci-fi adventure, director Gil Kenan’s City of Ember is reasonably fun and fast-paced
Atonement seduces the audience with breathtaking visuals while providing a devastating emotional ride