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Review: Coriolanus

Filming the Bard
In a line of fascist-style stagings of the Bard from Orson Welles's 1937 black-shirted Julius Caesar to Richard Loncraine's brown-shirted Richard III (1998), Ralph Fiennes sets his lean and hungry take on Shakespeare's tragedy in a mo dern-day war zone, paring the play to a brisk two hours.
By: PETER KEOUGH  |  February 16, 2012

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Review: Safe House

Daniel Espinosa's spy thriller
Daniel Espinosa's over-edited but engaging spy thriller delves into edgy territory untouched by any of the numerous movies it imitates: it has Brendan Gleeson do an American accent.
By: PETER KEOUGH  |  February 15, 2012

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Review: The Secret World of Arrietty

The best children's movie in a long time
The most touching love story and best children's movie in a long time, Hiromasa Yonebayashi's adaptation of Mary Norton's book The Borrowers employs old-fashioned animation techniques to create a world that is familiar, uncanny, and luminous.
By: PETER KEOUGH  |  February 15, 2012

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Review: Rampart

Oren Moverman's portrait of a rotten cop
The rotten cop flick has become a mini-genre of sorts, a subset of noir, going back at least to Orson Welles's Touch of Evil .
By: PETER KEOUGH  |  February 15, 2012

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Review: The Oscar Nominated Short Films 2012: Documentary

Powerful images
The films in this program contain some of the most powerful images to be seen on the screen this year.
By: PETER KEOUGH  |  February 10, 2012

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Review: Journey 2: The Mysterious Island

Brad Peyton's sequel
I liked the tiny elephants and the Rock bouncing berries off his pecs, but Brad Peyton's sequel is as bad as the 2008 original.
By: PETER KEOUGH  |  February 07, 2012



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Review: W.E.

Madonna's directorial debut
Nobody does vulgarity like Madonna, especially when she's being tasteful, as in her directorial debut of this grotesque biopic.
By: PETER KEOUGH  |  February 07, 2012

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Review: Chronicle

Superpowered teens
Poor Andrew (Dane DeHaan) has more problems than any movie teenager deserves.
By: PETER KEOUGH  |  February 02, 2012

Short take - One for the Money

Review: One for the Money

Julie Anne Robinson's insipid adaptation
TV director Julie Anne Robinson's insipid adaptation of this first volume in Janet Evanovich's Stephanie Plum series has more in common with Young Adult than with the average gumshoe yarn.
By: PETER KEOUGH  |  January 31, 2012

Big Miracle - review

Review: Big Miracle

Ken Kwapis's take on a true story from 1988
Taking a tip from the oil industry, Hollywood has started exploiting Alaska. Following in the tracks of The Grey is Ken Kwapis's take on a true story from 1988 about an effort to save gray whales trapped in the Arctic ice. Surprisingly, the film offers genuine complexity.
By: PETER KEOUGH  |  January 31, 2012

Review - A Separation

Review: A Separation

Family drama
Somehow, despite an increasingly repressive regime that has jailed many prominent filmmakers, including the world renowned auteur Jafar Panahi, Iranian cinema continues to produce some of the world's subtlest and most illuminating films about the relationships between men and women, and the conflicts inherent in all social units, starting with the family.
By: PETER KEOUGH  |  January 26, 2012



Crazy Horse - preview

Review: Crazy Horse

Wiseman behind the scenes at a revered dance institution
In La Danse — The Paris Opera Ballet , Frederick Wiseman looked behind the scenes at a revered dance institution. In his new documentary he examines a dance institution of a different sort, the cabaret bar of the title, a Parisian pop-cultural icon and tourist mecca dedicated to artistically ambitious "nude chic" dancing.
By: PETER KEOUGH  |  January 24, 2012

Man on a Ledge - Review

Review: Man on a Ledge

Clever if absurd heist film
Pablo F. Fenjves might not be Sidney Lumet, but his clever if absurd heist film does acknowledge its debt to the late, politically inclined director's Dog Day Afternoon .
By: PETER KEOUGH  |  January 26, 2012

Young Goethe in Love 2

Review: Young Goethe in Love

Philipp Stölzl's portrait of the artist as a young scamp
In Philipp Stölzl's fanciful portrait of the artist as a young scamp, the future genius (Alexander Fehling) introduces himself as "Goethe with an 'oe'," earning a reputation as a pratfalling screw-up.
By: PETER KEOUGH  |  January 19, 2012

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Review: 2011 Art House Project Shorts Program

Surreal poetry
Short films are the art of omission, and those in this outstanding Sundance program transform non-sequiturs into surreal poetry.
By: PETER KEOUGH  |  January 18, 2012

Backtalk - Wenders

Interview: Wim Wenders takes 3D one step further

Pina envy
Some are surprised that Wim Wenders, like fellow veteran of the '70s New German Cinema Werner Herzog, has embraced something as newfangled as 3D.
By: PETER KEOUGH  |  January 18, 2012



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The Oscars look back in languor in 2011

Golden oldies
This year, perhaps in hopes of diverting audiences with a different format, the Motion Picture Academy has again changed the number of Best Picture nominees.
By: PETER KEOUGH  |  January 18, 2012

Short take flowers of war

Review: The Flowers of War

Unimpressive outing from Zhang Yimou
In 1937 the invading Imperial Japanese Army killed and raped thousands of people in the Chinese city of Nanjing. The atrocity has recently inspired two Chinese films, including Lu Chuan's City of Life and Death and this unimpressive outing from Zhang Yimou.
By: PETER KEOUGH  |  January 17, 2012

Contraband 3

Review: Contraband

A high-quality composite of knock-offs
True to its name, this standard heist thriller is a composite of knock-offs, but when Sergio Leone's Once Upon a Time in America is among the sources ripped off, the quality is pretty high.
By: PETER KEOUGH  |  January 17, 2012

The Iron Lady short take

Review: The Iron Lady

Streep's not enough to save this one
Meryl Streep's two films with Phyllida Lloyd, Mamma Mia and this silly biopic, demonstrate that even when the world's greatest actress is at the peak of her powers — whether dramatic, comic, or musical — it's not enough.
By: PETER KEOUGH  |  January 10, 2012

Carnage review

Review: Carnage

Claustrophobic close encounters
As befits someone with jail time hanging over his head, Roman Polanski does his best work in close quarters. From Knife in the Water , to Repulsion , to The Tenant and The Pianist , he's a master of claustrophobic close encounters, and as such has a good time adapting Yasmin Reza's play, God of Carnage .
By: PETER KEOUGH  |  January 10, 2012


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