The ensemble rom-com “How to Be Single” manages the tricky feat of balancing bawdiness and sentimentality. It doesn’t do quite as good a job of connecting all its various story lines. But the cast is so winning, you may not mind, and there’s a moment toward the end that packs a surprising emotional wallop. My mixed review, at RogerEbert.com.
I’m not saying it’s good. But this Marlon Wayans spoof of “Fifty Shades of Grey” isn’t quite as terrible as you might expect. And it may have something substantive to say, in between all the prosthetic penises and pop-culture references. My RogerEbert.com review.
January continues unabated with “The Boy,” a horror movie which was not shown to critics before opening day. It’s about a young woman who takes a job as a nanny for an 8-year-old boy at a towering, Gothic estate in the English countryside, only to find out that the boy isn’t really a boy at all, but rather a doll whom the parents treat like an actual boy. Sounds super creepy, right? It’s actually pretty silly. My RogerEbert.com review.
My first RogerEbert.com review of 2016 is of “In the Shadow of Women,” the latest from French New Wave veteran Philippe Garrel. Given that it’s January, I’d say I lucked out big-time. Garrel may not be saying anything terribly new about infidelity, but he’s saying it in lush black and white and with strong performances. Enjoy.
The Hungarian drama “Son of Saul” is a marvel of controlled, precise filmmaking and an impressively assured debut from director Laszlo Nemes and star Geza Rohrig. The story of a Nazi concentration camp prisoner trying to bury a boy he says is his son is harrowing to watch, yet mesmerizing. My RogerEbert.com review.
The animated Brazilian film “Boy and the World” may look simple, but as it unfurls and takes hold, it’s dazzling in its colors and aesthetics. As a parable about the perils of industrialization, it’s not the most subtle, but it’s always a wonder to watch. My RogerEbert.com review.
Like most of Tom Hooper’s movies — “The King’s Speech,” “Les Miserables” — “The Danish Girl” is tasteful and restrained to a fault. The story of transgender pioneer Lili Elbe is impeccably made and strongly acted, but easier to admire than love. My extremely mixed RogerEbert.com review.