'Listen Up Philip'

The reduction of character and motive to diagrammable banalities seems of a piece with this film’s lack of interest in creating anything resembling human emotion.

'Gone Girl'

A mystery story, a portrait of marriage, and—more than anything else—a satire on big American expectations.

'Love Is Strange'

What’s quietly revelatory about 'Love Is Strange' is that its creators didn’t feel the need to turn it into a social-protest document.

'The Trip to Italy' & 'Land Ho!'

Both 'buddy' films chart the male temperament as mortality heaves into view, and protagonists live in a world where religion seems to have vanished.


'Calvary' belongs in a select company of films that deal powerfully with the plight of a priest who finds himself at odds with his community.

The Time of Our Lives

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.

Miner of Mania

More than most comedians, Robin Williams exemplified the cliché of the funny man being an inverted sad man.

Stillness & Silence in 'Ida'

Austere, quiet, its gravity tempered by bursts of harsh irreverence, 'Ida' grabs your imagination and won’t let go.

Artful Schlock, Arty Dreck

Jim Jarmusch’s vampire movie, 'Only Lovers Left Alive,' goes right where Jonathan Glazer’s critically acclaimed 'Under the Skin' goes wrong.

Wes Goes East

Atypical work for the whimsical and aesthetic Wes Anderson, or another journey further into 'Andersonland'?

Deluge & Delusion

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.
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