Jude Law

Movie Review: Captain Marvel (2019)

The special forces sub-genre combines elements of the cop, spy and soldier film, and is characterized by jargon, hardware, institutionalized yet independent characters and almost-but-not-quite overwhelming odds. Notable examples include “Tears of the Sun,” “Zero Dark Thirty,” “Triple Frontier” and “The Expendables” franchise. Given their practice of taking established generic traditions and infusing them with…

Movie Review: Fantastic Beasts: The Crimes of Grindelwald (2018)

Zoë Kravitz’s (“Rough Night”) character in Fantastic Beasts: The Crimes of Grindelwald, Leta Lestrange, tells the franchise’s bashful hero, Newt Scamander (Eddie Redmayne, “The Danish Girl”), “You never met a monster you couldn’t love.” The line is actually quite interchangeable with the film itself. While the narrative is somewhat of a slog, there is just…

Movie Trailer: Captain Marvel (2019)

Skrulls. Kree. Oh my! Earth being stuck in the middle of two alien races doing battle is bad, but adding Ronan the Destroyer (remember him from “Guardians of the Galaxy”?) into the mix makes the situation even worse. Luckily, we have Captain Marvel around to keep the fray from causing our untimely destruction. The film,…

Movie Review: Spy (2015)

After such critical bombs and/or not very good comedies as “The Hangover Part III,” “Tammy” and “Identity Theft,” there’s finally a Melissa McCarthy vehicle we can smile and laugh at — intentionally. Unfortunately, her latest turn in the new Paul Feig (“Bridesmaids,” “The Heat”) directed film, Spy, as an unprepared, mousy analyst/secret agent, loses those…

Movie Review: Black Sea (2014)

By their nature, submarine movies lend themselves to easy criticism — in terms of wordplay that is. Analogies such as “the performances were so painfully lacking that they ‘sunk’ the entire film” or “why watch this film when it should be isolated and submerged beneath two miles of ocean?” could easily take form. Luckily enough…

Movie Review: The Grand Budapest Hotel (2014)

Wes Anderson’s filmmaking fingerprints are distinctive, to say the least. His delicate touch is visible in every frame of his carefully constructed pictures, as if he’s built each cinematic world entirely with his own two hands. It’s impressive, but occasionally the result is too mechanically quirky for its own good. And it often feels like…

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