Sarah Silverman previously has dipped her toe in more dramatic waters with 2010’s excellent “Take This Waltz.” Here, the comedian flings herself headlong into dark and disturbing territory as an upper-middle class wife and mom struggling to conceal her depression and addiction. She’s willing to go to places that the superficial film itself is not. My RogerEbert.com review.
The moral of the story is: When two hot, much younger women knock on your door, scantily clad and stranded during a rainstorm, you probably shouldn’t have sex with them, tempting as that may be. The latest from horror veteran Eli Roth builds sly tension for the first half, then goes haywire and gets tedious in the second. My mixed RogerEbert.com review.
“Steve Jobs” doesn’t try to make you like Steve Jobs –and that’s what makes it so compelling. Danny Boyle’s film, bursting with super-Sorkiny Aaron Sorkin dialogue, is thrilling and daring and full of fascinating contradictions. My RogerEbert.com review.
Davis Guggenheim’s documantary takes a frustratingly superficial look at the life of Malala Yousafzai, the Pakistani teenager who was shot in the head by the Taliban for advocating girls’ education and went on to become the youngest-ever Nobel Peace Prize Laureate. She’s a worthy and fascinating subject, to be sure — and she’s incredibly charismatic — but Guggenheim perpetuates the mythology of her bravery rather than digging deeper to determine how she truly feels about becoming an international symbol of hope at such a young age. My RogerEbert.com review.
The documentary “A Brave Heart: The Lizzie Velasquez Story” follows a young woman’s journey from insecure bullying victim to internationally acclaimed motivational speaker and lobbyist. Velasquez — who was born with a syndrome that gave her striking facial features and makes it difficult for her to gain weight — radiates sweetness and humor, no matter the situation. Her story is certainly worthwhile and inspiring. But I wish the film had dug deeper below the surface. My RogerEbert.com review.
The teens from “The Maze Runner” are still running, but while they cover more ground in this second film in the series, they never really go anywhere. The sequel is bigger in scope, but that doesn’t necessarily mean it’s better. Plus, by this point, all these dystopian-future, sci-fi dramas based on Young Adult novels are essentially interchangeable. Which one has Kate Winslet as the icy government villain, and which has Patricia Clarkson? I try to sort it all out in my RogerEbert.com review.
“The Perfect Guy” is decent trash that could have been delicious trash with a bit more daring. David M. Rosenthal’s romantic thriller, starring Sanaa Lathan, Michael Ealy and Morris Chestnut in an increasingly dangerous triangle, tiptoes toward crazy but then backs away. My RogerEbert.com review.
When it came time for Chris Evans to direct his first film, he strayed far from the behemoth Marvel movies that made him a superstar. “Before We Go” is a walking-and-talking New York City romance in which Evans and Alice Eve co-star as strangers who connect in the middle of the night. Despite their individual charms, they’re stuck with a terrible script. My RogerEbert.com review.
The unfortunately titled “Zipper” is the kind of tawdry sex drama you’d watch late at night on cable and hate yourself for in the morning. Patrick Wilson leads a strong cast as a political star on the rise whose obsession with high-priced escorts threatens to ruin his career ambitions. Sound familiar? My RogerEbert.com review.
The tricky combination of sweet, slacker romance and slick, super-violent action flick proves especially jarring in “American Ultra.” Blending such disparate genres requires a more deft touch than the one that’s on display here. My RogerEbert.com review.