POSTED // May 18,2012 - Space nerds send a signal to a distant star system that looks a lot like ours in Battleship—and, like, days later, here’s the away team from Planet Facehugger come to steal all our bubblegum.

POSTED // May 16,2012 - With The Dictator, Sacha Baron Cohen finds himself addressing a situation no entertainer wants to confront: What do you do when the shtick that was your bread & butter just can’t work anymor

POSTED // May 11,2012 - Dark Shadows marks the eighth collaboration between director Tim Burton and Johnny Depp over a span of more than 20 years, and in some ways you could certainly say the partnership has been a fruitful

POSTED // May 11,2012 - When Undefeated scored a victory in the Documentary Feature category at this year’s Academy Awards, it would have been easy to take the cynical view that it was simply another Triumph of the Cam

POSTED // May 4,2012 - From Harry Potter to Twilight, from The Hunger Games to the new Marvel’s The Avengers and every comic-book movie that has preceded it, adaptations of beloved pop-culture properties face a question that is rarely asked

POSTED // May 4,2012 - Whit Stillman’s character always had plenty to say. So don’t blame the 14-year gap since his last feature for the sheer verbal density of Damsels in Distress.

POSTED // Apr 27,2012 - America’s movie buffs have had a love affair with Aardman Animations—creators of The Pirates! Band of Misfits—for years. The American general public, on the other hand … well,

POSTED // Apr 27,2012 - Those who crave the usual Jason Statham experience—as seen in Death Race, the Transporter flicks, etc.—will still love Safe; it’s brutally violent, and features lots of bloody mayhem

POSTED // Apr 20,2012 - For weeks, the story surrounding Lee Hirsch’s documentary Bully has been about not the movie itself, but about one little letter—the letter “R.”

POSTED // Apr 20,2012 - Terence Davies’ adaptation of Terrence Rattigan’s 1952 play invites the kind of question we should always be so fortunate to ask: Is Rattigan’s text that timeless, or is Davies’ sense for how to interpret it cinematically that remarkable?