The premise may sound like something you’d see on the Lifetime channel: An inner-city high school teacher finds out she’s pregnant at the same time as her star student. But director and co-writer Kris Swanberg’s execution is warm, funny and understated. And the two lead actresses — Cobie Smulders and Gail Bean — are great together. My RogerEbert.com review.
“Trainwreck” is anything but. It’s a great showcase for Amy Schumer’s distinctive and biting comic voice, but it’s also an opportunity for her to explore unexpected dramatic range. And it’s the first Judd Apatow movie that’s ever made my cry. My RogerEbert.com review.
Arnold Schwarzenegger returns to the role that made him a superstar over 30 years ago in this fifth installment in the “Terminator” franchise. It’s amusing at first, but “Terminator Genisys” turns unfortunately jokey and self-referential, to the point that it borders on parody. Ah-nuld finally has become McBain. My two-star RogerEbert.com review.
“The Little Death,” an Australian sex comedy that takes its title from the French idiom for orgasm, bops around between various couples exploring their fetishes and fantasies. There are a few laughs but a lot more jarring tonal shifts, as well as an unpleasant streak of sexual assault. My RogerEbert.com review.
You may think you know the strange directions in which this deliciously uncomfortable comedy is headed — and then it takes a detour or adds a twist or doesn’t go there at all. Not naming any names, but I can imagine having a version of this kind of night with some L.A. parents I know. Please enjoy my RogerEbert.com review of “The Overnight.”
The Madame Bovary of this “Madame Bovary” could be Betty Draper. She could be a reality-show housewife or the mom waiting in front of you in an SUV in the pickup line at school. My mixed review of this beautiful but emotionally detached take on Gustave Flaubert’s great novel, at RogerEbert.com.
“Insidious: Chapter 3” is shockingly good — especially for the third movie in a horror franchise. Rather than repeating himself, writer, co-star and first-time director Leigh Whannell sets this one up as a prequel, and puts the exceedingly bad-ass Lin Shaye front and center. It’s got several serious jumps but also a significant emotional undercurrent. My RogerEbert.com review.
Cameron Crowe’s latest, “Aloha,” is so baffling that I’m not even going to bother trying to explain the plot to you here. But it definitely shows the signs of massive re-editing, and not in a good way. Maybe a great film is hidden in there somewhere. We’ll have to wait for the director’s cut to find out. ‘Til then, here’s my RogerEbert.com review.
I am not a romantic or traditional kinda gal, which you may have noticed if you’ve read me for a little while. But damned if Thomas Vinterberg’s take on on the classic novel “Far From the Madding Crowd” didn’t do it for me. It is just breathtakingly beautiful, and it features Carey Mulligan’s most mature and powerful performance yet as the independent Bathsheba Everdene. My RogerEbert.com review.