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Since he began his professional career on “Saturday Night Live” in 1990, the perpetually sarcastic David Spade has rarely left the small screen, appearing in shows like “Just Shoot Me!” “8 Simple Rules” and “Rules of Engagement.”
It seems quite apt that "The Best Man Holiday," a film about a reunion of old friends, feels just like going to an actual reunion. In ways both bad and good.
The best parts of "Dallas Buyers Club" are of Matthew McConaughey, as HIV-positive Texas man Ron Woodroof, bucking like a bull in a Dallas hospital he refuses to let hold him.
Is it possible to convey, through the experience of just one man, the sweep and enormity of the horror that was American slavery?
Beholding the late James Gandolfini doing a lovely job in a change-of-pace role significantly intensifies the already funny/sad aspects of "Enough Said," an engaging comic romance set amid the minefields that imperil starting up mid-life relationships. The title notwithstanding, writer-director Nicole Holofcener's look at a 50-ish divorced mother with a daughter about to leave home is never at a loss for words, many of them quite amusing, making the film a leading contender for best girls' night movie of the season. For their part, men will enjoy watching Gandolfini in a relaxed, self-effacing, regular guy performance.
Jon Martello's relentless libido has a comic math to it.
Maybe, just maybe, Ron Howard and screenwriter Peter Morgan are perfect opposites: one a swinging playboy, the other a cold calculator.
"Somewhere along the way I lost a step," says Vin Diesel, aka that gravelly voiced, visually impaired, planet-hopping outlaw and badass they call Riddick. "I went and got sloppy."
Both men and women took off their tops Sunday in Tempe for "Go Topless Day," a protest against gender inequality.
"You're Next" is a nasty little slasher film that starts poorly but gets better once most of the cast has been butchered.
"The Canyons" -- a tale of young, vapid, sexually insatiable Z-listers in Hollywood -- had the credentials to be deliciously awful fun:
'Lovelace' a smart look at first porn star
"We're the Millers" is an identity comedy with identity issues.
"2 Guns"? Please. There are enough guns in this movie to arm a small country. Maybe a medium-sized one.
A guide to movies from a family perspective:
An 18-year-old Chandler man has been arrested for allegedly exposing himself in front of adults and children in numerous apartment complexes since January.
It would be dishonest to call "Grown Ups 2" the most repellent high-profile comedy in recent memory. But that's largely because few moviegoers have memories kind enough to have already erased 2010's "Grown Ups" — which offered almost every loathsome quality of this installment, plus Rob Schneider.
A guide to movies from a family perspective:
A social-conscience espionage film that has actually thought about its "eco-terrorism" themes beyond figuring out how to mine them for suspense, "The East" sends a straight-laced overachiever undercover with a violent eco-vigilante group. Zal Batmanglij and cowriter/star Brit Marling deliver a consistently tense, morally alert story that has plenty of box-office appeal.
She: "Baby, you are gonna miss that plane."
"Daring" isn't a word you would use very much to describe 2011's "The Hangover Part II," the disappointingly lazy, beat-for-beat rehash of the wild and wildly successful original "Hangover" from 2009.
The message behind most romantic comedies is the simple-minded sentiment that love is all you need. So when Danish filmmaker Susanne Bier takes that title for a departure from somber drama to romance, you might expect her to deliver it with some serious irony.
Just about all the actors in “The Big Wedding” are severely typecast. Diane Keaton is a high-strung, divorced mother like in “Something’s Gotta Give,” Robert De Niro is the father of somebody getting married like in “Meet the Fockers,” Amanda Seyfried is a blushing bride like in “Mamma Mia,” Robin Williams is an eccentric minister like in “License to Wed,” Topher Grace is a deadpan, quick-witted nice guy like in “That ‘70s Show,” and Katherine Heigl is a needy single woman like in every movie she does. Even though the actors are in their comfort zones, not a single person feels natural in “The Big Wedding.” That’s probably because the film doesn’t understand its own characters or their motivations. Nobody behind the camera has any idea what they’re doing, resulting in one of the most awkward romantic comedies of recent memory.
There's a siege mentality about Michael Bay's movies, as though viewers are the enemy holed up in a bunker and he's the guy ordering heavy-metal music around-the-clock to wear down our morale and force us to surrender.
It's a given at multiplexes these days that despite switch-off-your-cell-phone announcements and the occasional grumbling protest, whatever's onscreen will have to compete with tiny pockets of light from audience members unable to stay off their handhelds. Watching those glow patches come and go during "Disconnect" reinforces the film's position on how desensitized we've become to these technological intrusions. Not that Henry-Alex Rubin's schematic multi-strand drama is at all shy about articulating its themes.