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MOVIES
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"Billy" Chronicles the Beginnings of Graham's Legacy
More than just the beginnings of arguably the world’s most well-known and respected evangelist, Billy: The Early Years is the story of two friends, of two roads taken and of two ways to make a biopic.
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As an Apocalyptic Adventure, "City of Ember" Shines Bright
Keeping the pace fast, City of Ember plays out like The Goonies meets National Treasure with a twinge of science fiction. The constant twists and turns of the plot, and its inevitable intrigue, will easily hold your attention for an hour.
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“Body of Lies” Captures Shifting Alliances of a Long War
Body of Lies is not up to Ridley Scott’s best work, but the performances—especially from Leonardo DiCaprio—are strong. The result is a film that seriously examines U.S. foreign policy while still managing to entertain.
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Laugh Level Goes Down and Out in “Beverly Hills Chihuahua”
Those who are looking for mainly inoffensive entertainment, and don’t mind weak attempts at humor, may enjoy Beverly Hills Chihuahua. But those looking for something better than a retread of themes from better films are advised to stay away.
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"Nick and Norah" Offers Charming Cast but Weak Story
Michael Cera’s latest role as the Nick of Nick and Norah’s Infinite Playlist, floats across the screen like it was written just for him—showcasing his unpretentious charm and carrying an otherwise forgettable movie.
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Offensive, Insulting "Blindness" Better Left Unseen
Blindness is the type of odious filmmaking that drives people who dare give it a shot right back to the refuge of mindless blockbusters. But films on the opposite end of the spectrum—like Blindness—are equally responsible.
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Feel-Good "Flash of Genius" Has Few Moments of Brilliance
Even with a compelling backdrop and a strong performance from Greg Kinnear, languid pacing and unimaginative, heavy-handed presentation prevent Flash of Genius from being anything more than a flash in the pan.
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Unfocused "Miracle at St. Anna" Misses the Target
Clocking in at 160 minutes, Spike Lee’s Miracle at St. Anna wants to be so many things—a rewriting of history, a war movie, a murder mystery, even a heartstrings-tugging melodrama—that it doesn’t do anything particularly well.
