Leave it to Paul Haggis to make even a heist film self-important and ponderous. Most filmmakers see the genre as a day off for the intellect, embracing the breezy mechanics of watching a plan come together read more …

Clint Eastwood is no stranger to death — much of his career has been spent either doling it out or wrestling with its consequences. But Hereafter marks the first time the taciturn icon has peered read more …

Ever since The Departed (with maybe a little help from the cult status accrued by The Boondock Saints), Boston has become the capital of cinematic crime. That’s been especially advantageous read more …

Alex Gibney’s latest doc could be seen as another stop on Eliot Spitzer’s road to a political comeback, which so far has entailed sticking his toes in the water with columns at slate.com and The Washington read more …

Whether due to its meager budget (somewhere in the hundreds of thousands for a genre more comfortable with hundreds of millions) or to personal choice, Gareth Edwards’ alien-invasion thriller concentrates read more …

Arguing for a sense of community support while stocking its neighborhood with a gaggle of African-American stereotypes, Lottery Ticket flails along a tricky line between broad comedy and message read more …

An engaging if somewhat scatterbrained pastoral comedy, Tamara Drewe is set at a writers’ retreat in the English countryside, where the collected authors’ dalliances prove far more interesting read more …

Cinematic infidelities are typically depicted as explosions of uncontrollable passion, but Stéphane Brizé’s Mademoiselle Chambon demonstrates that not all extramarital amour is necessarily fou. read more …

Blood Simple, the Coen Brothers’ 1984 debut, announced the sibling filmmakers’ aesthetic in unmistakable terms, a bold neo-noir where style equals substance and characters are as immutable and read more …

Read Shaun Brady's full review. read more …