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Macramé's scarier
Let's salute the creators of The Strangers for their great public service: This film could single-handedly put an end to the practice of thrill killing. That's because it makes the act of murder look more boring and tedious than macramé.
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Life in Narnia gets a little stale
The Pevensie siblings are back for another round. They return to a Narnia where time has passed, Aslan the lion is nowhere to be seen, and the Narnians have almost disappeared, pushed to the brink of extinction by Prince Caspian's people—who have also denied him the rightful throne.
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Superhuman Ford lessens the fun
The big question on everyone's mind regarding this new Indiana Jones film was what kind of effect Harrison Ford's advanced age would have. The surprising answer is that weirdly, little has changed. We get the same high-wire, death-defying wall-to-wall action scenes that have defined the franchise from the beginning. But there is something crucial missing.
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All hail the heartfelt funny
Judd Apatow's a genius, blah, blah blah. Spawned the next generation of comedic filmmakers ... yawn.
You may have heard it before, and with the impending summer release of Pineapple Express, you're bound to hear it all again; but it's hard to act blasé when we're still reaping the benefits of Apatow's collaborative efforts on the tragically short-run series Freaks and Geeks (for which he was the executive producer).
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Flashy to a fault
In a purely visual sense, Speed Racer, with its bright and blinding cartoon colors, is a visceral and awe-inspiring feast for the eyes.
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Comic bust if not for the cast
Much like its flamboyant protagonist, Tony Stark (Robert Downey Jr.), Iron Man is a bright and energetic flirt of a movie,
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Cuz We're B& From Stickam
The IFF's significance is snowballing. It offers the opportunity to check out premium indie fare (in 2006, the IFF previewed Half Nelson,
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Ramen Westerns come to the Brattle
Postwar Japan signaled the opening of Japanese cinema to reconciliation with Western influences.
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Heist gone haywire
Flawless suffers greatly from screenwriting that's absolute tripe, Demi Moore's strained acting, and a paradoxical feminist bent. Rather than a "clever diamond-heist thriller set in swinging 1960s London," as it's plugged on the film's website, you get one big emotional softie in the end.
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Sweet, but lacking substance
Shelter is a sweet coming-out story, contrived as its conclusion may be. Zach (Trevor Wright) is a high school grad saddled with his family's baggage and stuck in the limbo before adulthood—miserably so.
