The obsession with time lies at the core of Linklater’s singular new film, 'Boyhood.' In a sense it is misleading to call it new, since work on it began in 2001.
More than most comedians, Robin Williams exemplified the cliché of the funny man being an inverted sad man.
Austere, quiet, its gravity tempered by bursts of harsh irreverence, 'Ida' grabs your imagination and won’t let go.
Jim Jarmusch’s vampire movie, 'Only Lovers Left Alive,' goes right where Jonathan Glazer’s critically acclaimed 'Under the Skin' goes wrong.
Atypical work for the whimsical and aesthetic Wes Anderson, or another journey further into 'Andersonland'?
Darren Aronofsky, a master of misery, is very much in his element in 'Noah' as he envisions the sinful self-destruction of nearly the whole damned human race.
The evangelistic fervor of its producers is evident throughout 'Son of God,' but so is bombastic filmmaking lacking in any nuance or freshness of approach.
Philip Seymour Hoffman had the greatest range of any character actor of his generation, and his filmography is stupendous in both its length and its variety.
'The Invisible Woman' has tact but lacks Dickensian bustle and comedy; 'Gloria' depicts a woman whose way of surviving is to live on the fly.
'Her' focuses on emotional anxieties, asking what happens when companionship and intimacy itself are outsourced to a rapidly evolving machine. What happens to us?
No moviemaker since Sturges has made the din of recrimination as funny as Russell does in 'American Hustle,' while Scorcese dazzles though 'Wolf' goes nowhere.