Movies

'Premium Rush' satisfies itself by being a quick, jaunty interlude before moving onto more important matters - the kind of things that absolutely, positively have to be done as soon as possible.

The half way point of the 'Rebuild of Evangelion' has managed to remain true to the spirit of original series while blazing its own path forward.

Like 'The Road,' another technically non-horror film, there is an underlying sense of dread and foreboding here that's far more sophisticated and true-to-life than most of what passes for horror these days.

On its own there is little to make Evangelion: 1.11 standout, either as an individual film or from the original shows, making it valuable solely for those willing to invest in the entire series.

In creating works of art, artists can often find themselves on quasi-mythical journeys of their own. For Raoul Dyssell and William “Sonny” Sonbuchner, co-directors of the independent film Amiss, the struggle to get their film made in some ways follows the trajectory of the Hero’s Journey.

As with A Tribe Called Quest's music, the film's audience is undoubtedly limited, but those who listen will be enlightened while those who don't will miss out.

One of America’s most iconic films illuminates the concept of non-violence and offers it as a viable solution to the self-perpetuating cycle of violence. I am speaking of Star Wars Episode VI: Return of the Jedi.

From the quiet opening narration to the illogical but hilarious tag, Iron Man 3 is a smorgasbord of action, explosions, metal and humor.

At first 'Cloud Atlas' feels like a lumbering, disjointed choir, but gradually the lines weave together into a grand, ambitious, flawed spectacle

It’s kind of silly and a little baffling to say that a violent movie like Terminator 2 taught me that violence is an evil thing. But it did.

I'll give the remake of 'Evil Dead' this much: it sure was pretty, visually. However, this incarnation lacks female strength and focuses instead on how vulnerable and weak women are.

True to its name, the film Lincoln is admirable and considerate but distant.

You can't have G.I. Joe without Cobra and you can't have Cobra without Cobra Commander and Destro. But G.I. Joe: Retaliation woefully neglects these central characters which the first movie went to great lengths to set up.

The final sequence of Zero Dark Thirty, in particular, while clearly predictable, is a tense and immaculately executed work of military drama.

In anticipation of the upcoming remake of the original Evil Dead, it seemed only fitting that I write one of my feminist, analytical essays of the original version by Sam Raimi.