“Big Hero 6” is lively and lovely and all kinds of adorable. Not groundbreaking, necessarily, but enjoyable, with themes of friendship and teamwork as well as a dark streak. I actually liked “Feast,” the short that plays beforehand, way better.
“Whiplash” is at once thrilling and horrifying. The story of a talented young jazz drummer and his cruelly sadistic mentor features powerful performances from Miles Teller and J.K. Simmons and editing so intricate and masterful, it feels like jazz itself. (Like, seriously, it should win every possible editing award there is.) I can’t exactly say that I enjoyed Damien Chazelle’s film, but I can’t deny that it put me on edge for the rest of the night.
This courtroom drama feels like an overlong, overstuffed adaptation of a John Grisham airport paperback from the mid-1990s. It is clearly the work of a comedy director (David Dobkin) trying desperately to do something more substantive. But it has a few moments that earn their demands to be taken seriously, particularly the heated exchanges between Robert Duvall and Robert Downey Jr. as an estranged father and son.
The Judith Viorst children’s book is merely a springboard for this family-friendly comedy, which isn’t as cloying as it looks and features an appealing weird streak. You could do worse.
Some thoughts on the feel-good Bill Murray drama “St. Vincent,” which I saw and no one else did. It’s kinda terrible.
Matt, Bibbs and I all went a little nuts for “Gone Girl.” This is our sans-spoiler review, so we tried to rave sufficiently about the film without giving too much away. But a spoilertastic edition follows, so be sure to watch that, too — but only once you’ve seen the film.
Don’t watch this until you’ve seen “Gone Girl”! Seriously. Matt, Bibbs and I go indepth on the film’s many twists and surprises.
The trailers make this creepy-doll horror flick look positively cringe-inducing. Instead, the prequel to “The Conjuring” is just silly and screechy, and — with the exception of a couple of decent jolts — not really scary after all.
Denzel Washington plays a man with a very particular set of skills. But “The Equalizer” is more intriguing as he slowly reveals those skills. By the third act, he’s just blowing things up and walking away from them without looking back. We all liked this, to a point.
This is a Jimi Hendrix biography without any Jimi Hendrix music in it. That would sound like a problem, but writer-director John Ridley actually has taken an innovative approach to a famous life. I liked this movie a lot. Alonso was not so impressed.