Many critics—this one included—complain about the glut of sequels and lack of new stories out of Hollywood. This year's Mad Max: Fury Road and Jurassic World show how well done sequels can be.
Love & Mercy is an increasingly rare treat at the movies—a film not aimed squarely at teenagers and with award-caliber performances from its lead actors.
The trouble with Tomorrowland essentially boils down to this: Jetpacks and a few other visual wonders aside, we have to be told, via the characters, why it’s such a special, essential place.
Where Hope Grows isn't the kind of movie that feels like an advance for films aimed at Christian audiences, but neither is it a step back. That most surprising thing about it is just how unsurprising it is.
Beautifully shot, the film is never less than easy on the eyes, but its central romance needed a bolt of lightning to bring The Age of Adaline fully to life.
Do You Believe? works better than other Christian films precisely because, in its own realm, Do You Believe? has set a new standard for what a certain vein of Christian cinema can be. It's a major step in the right direction.
In 2012, The Best Exotic Marigold Hotel was an irresistible charmer that allowed depth and nuance to elevate an otherwise routine formula to something real, moving, even substantial. Its sequel, The Second Best Exotic Marigold Hotel, was inevitable. However, expectation is, regrettably, not met.
This is Costner's second major release in two months and both are inspiring tales based on true stories. They are very different films, though. Where Black or White is often discomforting in pursuit of a good cause, McFarland USA is almost soothing to watch. Not boring! Just... nice.
It's no secret that high school kids can be vicious, but The DUFF is an all-too-real reminder of how difficult and truly awful those four years can be with today's high-tech toys.
Old Fashioned may have its heart in the right place, but in terms of advancing the cause of faith-based filmmaking and possibly winning a few fans outside of the fold, it's strikingly out of touch.
There's too much talent involved with Seventh Son for it to be an excruciating sit, but there's also nothing in it good enough—not even Bridges's performance—to recommend the film.
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