Alec Baldwin
Chick Fight never takes advantage of the premise it was trying to flesh out, and loses any feminist credibility it could have had.
Though not a fully-realized film, Motherless Brooklyn shows some promise, with an impressive neo-noir style and an admirable takeaway.
The Public is an amusing and eccentric film that provides a candid look at humanity, a powerful reminder to be kind and put our biases aside.
Devoid of any subtlety and bereft of a strong plot, the fact that a film so reductive as Blind was made this recently is quite shocking.
There’s a way, many ways, actually, to make a satisfying film about a lighthearted romp, but Paris Can Wait never finds any of these paths.
Though Rules Don’t Apply is beautifully shot and contains a tender romance, the two stories of the film collide, making it an uneven venture.
The Boss Baby offers occasional laughs and is clearly politically-driven, yet it is ultimately fleeting, forgettable entertainment.
Concussion does to the sports film what I was sincerely hoping it would avoid: it dramatizes its subject in such an unbelievable way that it becomes nothing more than mindless propaganda. Dealing with the true subject of brain injuries within retired NFL players, the film simply floats from one cliché to the next, which left me feeling almost dazed after it had finished.
It’s often stated that January and February are the two worst cinematic months of the year, as all of the major new releases are more often than not the terrible movies major studios have just “dumped” there. Yet it could easily be argued that the months leading up to the end of the year (“awards season” or “prestige season”, if you prefer to forget that Hollywood backslapping ceremonies exist) are equally bad. They do usually provide the year’s best movies, yet they also provide the kinds of movies that have been made cynically to get awards.