THE HUNGER GAMES: MOCKINGJAY PART 2: Ends the series with an unsatisfying whimper, the result of poor, underdeveloped artistic choices.
LOVE THE COOPERS: A way too soon, holiday-centered comedy-drama with nothing that the talismanic invocation of the word “family” can’t fix.
SPOTLIGHT: A reminder of how journalism can shed light on hidden, uncomfortable truths and help force social, cultural and political change.
The concept of “home,” what it is, both in the abstract and in practice, of whether – to borrow a truism-turned-cliché – you can’t (or shouldn’t) go home again, runs thematically through Brooklyn, director John Crowley (Closed Circuit, Is Anybody There?, Boy A) and screenwriter Nick Hornby’s (Fever Pitch,
A grey, grim world, free of color or joy; a world where one-half of the population virtually holds the other half in indentured servitude, one without workers’ rights, let alone workplace safety rules or regulations, a patriarchal society, except it’s not set in a distant future typically reserved for
THE LAST WITCH HUNTER: Does little with its few good ideas and everything with its derivative, unoriginal ones.
PARANORMAL ACTIVITY: THE GHOST DIMENSION: One last, desperate attempt to separate unsuspecting moviegoers from their wallets.
THE MARTIAN: A taut, tense thriller with practically everything moviegoers could possibly want from a 21st century “Robinson Crusoe on Mars.”
After what seemed like a never-ending series of bombs and misfires culminating with Mortdecai earlier this year, Johnny Depp’s career as an A-list leading man seemed all but over (next year’s Pirates of the Caribbean notwithstanding), but Depp finally found a role to fit his peculiar talents and makeup
THE VISIT: M. Night Shyamalan’s latest misfire is neither straight-up horror nor comedy, but a bizarre, ill-fitting mixture of the two.
THE TRANSPORTER: REFUELED — Yet another ill-conceived, poorly executed reboot.
NO ESCAPE: A cringe-inducing, unappetizing throwback to the Golden Era of Hollywood Racism.