Few movies leave viewers as furious as "Kill the Messenger" does, for not only is the entire movie about betrayal and lies on several levels, but the final bits of the story, printed at the end, raise whatever hackles may have remained at rest. "Kill the Messenger" has no hope.
If you've ever wondered what it was like to be inside the belly of the beast of a Sherman tank, "Fury" takes you there and closes the hatch. It is a war movie, far gorier than "Saving Private Ryan" or "In Glorious Basterds." Unfortunately, "Fury" settles for cliché over insight.
Here's how the press release describes "Men, Women & Children": "A group of high school teenagers and their parents attempts to navigate the many ways the Internet has changed their relationships, their communication, their self-image, and their love lives." Such a banal description for a film that's anything but bland.
It is possible that Kevin Smith has decided to flap a wet flipper at film-making. He came to prominence in 1994 for the indie film, "Clerks," and he has been making off-kilter films all his life, but "Tusk" goes beyond the call of doody.
Where did the title,"Love Is Strange," come from? It seems to have little to do with the film, which is a love story, but neither the love nor the story is strange. Sad, yes. Sweet, very. But not strange. Unless you count a couple having pillow talk in a great-nephew's bunk bed strange.
Sometimes all it takes is one name to assure film-goers that a film promises to deliver. For “Life of Crime” that name is Elmore Leonard. He co-wrote the script with the director Daniel Schecter, so the expectation is that humor will dance around the violence of the underworld.
“The Trip to Italy” is a sequel to “The Trip,” truly one of the funniest movies ever conceived and produced. It had a boyish bounce at its core as comedians Steve Coogan and Rob Brydon tooled their way about the Lake District of England, reviewing restaurants without knowledge but with braggadocio.
Raise your hand if you even remember the name of Errol Flynn. Raise it again if you remember Flynn as Robin Hood. If you remember him mostly via the phrase “in like Flynn,” you’re closer to the context of “The Last of Robin Hood.”
The title does not refer to the Sixties’ idiom for “wife.” Rather, it refers to a real a 90-year-old woman who seems to come along with the apartment in Paris willed to a son by his dying father. That son, Mathias Gold, is 57 years and 11 months.
If you’ve been led to believe that “The Hundred-foot Journey” is all about whatever character Helen Mirren is playing this time, you might be vexed to discover she’s a secondary character, for this is not her character’s journey. It is Hassan Kadam’s, a young man from Mumbai, set down in France.