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.
Tom Hanks should see another wave of award seasons nods with this Clint Eastwood-directed take on the 2009 “Miracle on the Hudson.” Over all, in a light year for solid cinema, the film soars.
Treading some of the ground of last year’s “Ex Machina,” this pulpy science-fiction short story takes us to a remote scientific facility where a corporation has been field testing a partly human girl – and now must decide whether to let her go on living.
The family film has become increasingly difficult to accomplish well. Sure, there are films such as “The BFG” and especially “Where the Wild Things Are,” but beyond the […]
Hyped as a quirky anti-superhero flick, the project showed great promise during incubation; now, in realization, it’s another busy, bombastic but not very interesting attempt by DC Comics to take a bite out of the Marvel pie.
Rangoli sand art exhibit; OpenAir Circus and “Little Shop of Horrors”; Fresh Pond Monarch Butterfly Release Parade; “What Is Punk?” story time and singalong; and Harvard Summer Chamber Orchestra’s performances of Mozart, Copland and Sibelius.
Bourne’s back, but he’s not the same enigmatic killing machine addled by amnesia that we met almost 15 years ago in “The Bourne Identity,” and this isn’t quite as good a film. But it’s good to see Damon buffed up and in action.
“Ghostbusters” is an absolute blast and rejuvenates a summer of tired and listless blockbuster fare, benefiting from starring four of the most talented women in comedy today.
An engaging and focused performance by Bryan Cranston can’t save this outdated and ham-fisted undercover romp. “The Infiltrator,” despite two strong lead performances, flounders less than 20 minutes in and never regains its confidence or ability to entertain.