Simon & The Oaks (Ohlin, 2012)
There have now been enough films about--or set in and around-- the Holocaust that it is almost possible to group these films into subgenres.
Category: Disclosure
-
-
Wonder Women!: The Untold Story of American Superheroines (Guevara-Flanagan, 2012)
Wonder Women!: The Untold Story of American Superheroines is a serviceable if somewhat superficial summary of the American feminist movement as reflected through the representation of female heroes in comic books, television, and film.
-
Leviathan (Castaing-Taylor and Paravel, 2012)
Leviathan is not a narrative film.
-
La Source (Shen, 2012)
Everyone thinks they would be more generous if they had just a little more.
-
The Law in These Parts (Alexandrowicz 2011)
What is the difference been "occupied" and "held" territories?
-
The Dark Knight Rises (Nolan, 2012)
As I've acknowledged elsewhere, the Batman of this series of films is not the same character/hero I grew up with, and that complicates my reactions, making it harder (though, I hope, not impossible) to separate my disappointment from my judgment. That's not all of it, though, or I should have liked Rises more than The Dark Knight, and I'm not sure I did (even if I did judge it a better film).
-
Brave (Chapman, Andrews, and Purcell 2012)
Payoff there is, but I found my own emotions at the conclusion somewhat muted by the fact that--and there's just no easy way to put this--I preferred the pre-chastened heroine to the one who had learned her lesson at the end.
-
Rock of Ages (Shankman, 2012)
The most surprising thing about Rock of Ages is that I was prepared to like it.
-
Prometheus (Scott, 2012)
Prometheus's biggest problem is not a lack of ambition, but of execution. The film is at no loss for ideas, but it can't really pause to catch its breath long enough to develop any of them.
-
U.N. Me (Horowitz and Goff, 2009)
U.N. Me describes scandal after scandal with a relentless dullness and surprisingly glib attitude.