“Out of the Furnace’s” plot is almost stunningly straightforward. No twists, no turns. There’s literally nothing fancy about it. Director Scott Cooper just trusts his talented cast to burrow deep into their roles.
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It was as raw and experimental as the New Orleans jazz that provided its heartbeat.
James Franco is both the best and the worst thing about “Homefront,” the new backwoods thriller in which Jason Statham turns rednecks into broken-necks.
How good is “Dallas Buyers Club”? Matthew McConaughey shed nearly 50 pounds for his role, blows the walls off of whatever boxes Hollywood has put him in and doesn’t utter a single “awright, awright, awright.”
“The Hunger Games: Catching Fire” should more than satisfy the cravings of fans who’ve spent the 20-month gap between movies quivering with anticipation.
Unless you’ve spent the past few weeks under a rock — assuming that rock lacked access to Wi-Fi, cellular data and over-the-air TV and radio transmissions, as well as run-of-the-mill chatterboxes — you’re now painfully aware that Friday marks the 50th anniversary of the Kennedy assassination.
Just you and Robert Redford. On a boat. With no one around for miles.
“Thor” was half of a very good superhero movie. Thrust into a civilization of Earthlings he couldn’t quite comprehend, Chris Hemsworth’s swaggering Asgardian made for some delightful god-of-thunder-out-of-water moments.
It’s not the kind of thing most moviegoers are itching to see.
It’s being positioned as “The Hangover” for the stooped over. A raucous “Cocoon” in a casino. But “Last Vegas” isn’t that movie.
It’s never too early to start thinking about next TV season.
With his first screenplay, Cormac McCarthy and director Ridley Scott have unleashed what’s either a soon-to-be-legendary misfire destined for a midnight cult audience or a work of staggering genius that operates on a level too advanced for me to grasp.
Halloween is still more than a week away, but it’s never too early for some frightening TV.
By now, raving about Benedict Cumberbatch has become as commonplace as chatting about the weather or complaining about that thing Miley Cyrus won’t stop doing with her tongue.
Criss Angel is a riddle wrapped in a scoop-necked leather shirt (or maybe it’s a jacket) seated on a throne.
The traditional rollout of prestige pics is still more than a month away, yet successive weeks already have brought “Prisoners,” “Rush” and “Gravity.” Now, so is “Captain Phillips.”
Television has long been a haven for witches.
There are worse ways to spend 90 minutes than having Sandra Bullock repeatedly tumble into your lap.
Two of the most buzzed-about series of the past decade, the newly crowned Emmy winner for best drama and the series it defeated for the title just seven days earlier, are going head to head.
“Rush” is so engrossing, you can be completely swept away even if you don’t know your Formula One from your Formula 409.
There are suspense thrillers that keep you on the edge of your seat, and there are suspense thrillers that make you recoil to the point that you’d burrow through the backrest if you could.
A 30-something Jane Austen devotee (Keri Russell) travels to Regency-era England, where she falls in love with both a refined gentleman and a stableboy.
For years, there’s been a sure-fire way to sound like a film snob without actually putting in the effort: Tell anyone who asks that your favorite director is Wong Kar Wai.
“The Spectacular Now” rode out of Sundance atop an avalanche of positive buzz and near-rapturous reviews.
The story of Cecil Gaines, a White House butler spanning seven administrations, is ever-so-loosely based on the life of the late Eugene Allen. But the result is too reverent to feel like fiction, too improbable to feel like the truth.
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