Thriller Rated PG-13
“As a feature-length tease, the movie is good fun.”
Drama Rated PG-13
“Proof that details are the heart of all good storytelling…”
Action/Adventure Rated R
“How would today’s actors look in the sort of hats once worn by James Stewart, Alan Ladd and John Wayne? If Crowe and Bale are any indication, pretty good.
Romantic Comedy Rated PG-13
Kate Hudson plays a women’s magazine writer testing out the how-to article of the title, while Matthew McConaughey plays an advertising executive who has bet colleagues he can make any woman fall in love with him in little more than a week. Wry observations about the war of the sexes could be gleaned from such
Romantic Comedy Rated NR
Have the movies ever talked this quickly, before or since? Rosalind Russell delivers a verbal torrent as Hildy Johnson, the crack newspaper reporter trying to escape the clutches of Walter Burns, her workaholic ex-husband and overbearing former editor. She’s fleeing to a docile married life in the suburbs, which sounds like a smart move except
Musical Rated R
Valuable alone for the furor caused among movie lovers after winning the Palme d’Or at the 2000 Cannes Film Festival – some saw it as revolutionary cinema, others as manipulative pap – Danish director Lars von Trier’s invigorating curiosity transplants the grand emotions of musical theater into our voyeuristic digital age. Pop star Bjork is
Drama Rated NR
“…absurdly abstract in a way von Trier’s best films are not.”
Drama Rated R
Lars von Trier’s international breakthrough mixes – maybe even equates – religion and sex, yet the movie is far less exploitative than it sounds. When a mentally unstable young woman (a vulnerable yet brave Emily Watson) breaks away from her rigid Christian community to marry a strapping oil rigger (Stellan Skarsgard), she finds a life
Danish director Lars von Trier (Breaking the Waves, Dancer in the Dark) has always provoked, but usually he does so through art. Dogville is agitprop. A failed, formalist experiment involving a single soundstage and chalk marks to denote buildings, the movie follows a moll (Nicole Kidman) on the run in Depression-era America who seeks solace
The end of the world, as witnessed by a manic-depressive bride. That’s a pithy way of describing Melancholia, yet the movie has a remoteness, a staginess, that doesn’t allow you to get much closer. As another piece of nihilistic provocation from Danish writer-director Lars von Trier, it’s never anything less than arresting, but always in