With Donald Trump pulling off a staggering electoral upset of Hillary Clinton for the country’s top post, “Miss Sloane” couldn’t be more timely. It’s helped by a tart script by first-time scribe Jonathan Perera that gives the dynamic Jessica Chastain plenty of scenery to chew.
“Moana” is Disney once again branching out, reaching past its own barriers and trying to create something singular that will stand out and become timeless.
In just her second feature film, “The Edge of Seventeen,” director and writer Kelly Fremon Craig has made one of the greatest coming-of-age films of the past 20 years. We asked her how she did it.
As someone with firsthand experience: Being a teenage girl is hard. Filmmakers have tried to capture this truth with varying success, but few have achieved the authenticity of filmmaker Kelly Fremon Craig and her confident and emotive “The Edge of Seventeen.”
War drama “Hacksaw Ridge” will satisfy Andrew Garfield fans, Mel Gibson supporters or war movie connoisseurs but little more, as a conflicted Gibson, returning to directing, paints a picture of nonviolence in gleeful slow-motion sequences of violence and bloodiness.
For all their power and pop, Marvel’s comic book tales of the übermensch are pretty pat affairs. “Doctor Strange,” while not as fresh and sassy as “Guardians of the Galaxy,” it is a piquant changeup for fans finding the “Avengers” series getting long in the tooth.
“The Accountant,” a far-reaching thriller starring Ben Affleck, asks much of its audience – but for some patience and suspension of disbelief there are rewards to be had as it morphs slowly and surprisingly into something more entertaining than it has any right to be.
If you’re still angry with British Petroleum for the 2010 spill in the Louisiana Bay that notched the worst ecological disaster in history, get ready to have your ire stoked by Peter Berg’s harrowing real-life rewind.
To its credit, this “Magnificent Seven” moves quickly enough and it is visually stylistic and crisp, but the whole time I just couldn’t stop thinking about Ford, Leone, Kurosawa, Peckinpah and John Sturges – director of the “Magnificent Seven” from 1960.
For the Stoned faithful, there’s good news: “Snowden” marks something of a comeback, a return to the realm of political and historical dramatization that powered “JFK” and “Nixon,” which provided a foundation for the filmmaker’s strong political leanings.