NEW YORK (CNS) — An overheated tone and characters’ questionable tactics in the struggle against abortion undercut the obviously good intentions behind the pro-life drama “Voiceless” (ArtAffects). While it’s clearly meant to serve as a cinematic rallying cry for the protection of the innocent, the film instead runs the risk of reinforcing the stereotype of […]
The glorious “Queen of Katwe” (Disney) applies the traditional formula of an uplifting sports drama to the real-life story of a Ugandan chess prodigy.
NEW YORK (CNS) — Kids the same age as its preteen main character are clearly the target audience for “Middle School: The Worst Years of My Life” (Lionsgate/CBS Films). But numerous elements in the film seem ill-suited to such youthful viewership. In particular, parents may not care for the underlying message of this comedy which […]
Nat Turner’s Rebellion, an 1831 insurrection among the enslaved people of Southampton County, Virginia, represented the most serious challenge of its kind ever posed to slavery in the antebellum South.
“The Girl on the Train” (Universal), director Tate Taylor’s adaptation of Paula Hawkins’ best-selling novel, is a film that would like to be taken seriously.
NEW YORK (CNS) — Director Tim Burton is on his home turf with the gothic fantasy “Miss Peregrine’s Home for Peculiar Children” (Fox). While his adaptation of Ransom Riggs’ 2011 novel is mildly entertaining, however, it’s hobbled by an overly complicated premise and by the head-scratching implications of time travel. Bridging the film’s two settings, […]
It seems obvious that bank robbery, especially in real life, makes a better subject for drama than for comedy. And nothing in the Zach Galifianakis vehicle “Masterminds” (Relativity) — a comic recounting of the 1997 “hillbilly heist” from an armored-car firm in North Carolina — does anything to undermine that easily-arrived-at conclusion.
NEW YORK (CNS) — Audiences of the 1970s were fed a steady diet of fictional disaster movies. Ocean liners capsized, skyscrapers burned and planes were imperiled. Whatever the nature of the threat, endangered characters, whether plucky or pusillanimous, tried to see it through in the conviction that (to quote the popular theme song of 1972’s […]
Popular culture’s relentless drive to portray a homosexual lifestyle as merely one more form of diversity and its view of out-of-wedlock motherhood as a respectable choice, at least for mature women, mars the otherwise unobjectionable animated comedy “Storks” (Warner Bros.).
A chivalrous parable that showcases self-sacrificing heroism, “The Magnificent Seven” (Columbia) can be read as illustrating, in microcosm, Catholic theology’s theory of a just war.
Turning the 1999 ultra-low-budget “The Blair Witch Project” into a franchise has meant turning the saga into a conventional slasher film with little suspense and predictable setups.
Typically, romantic comedies do not revolve around characters our youth-crazed culture tends to dismiss as middle-aged. “Bridget Jones’s Baby” (Universal) is a charming exception.