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Before Judd Apatow cornered the comedy market on movies about permanently adolescent men, there was Peter Farrelly, whose movies with his brother Bobby could range from sweetly funny if at times inappropriate like “Dumb and Dumber” or “There’s Something About Mary” to however one would describe the notorious trainwreck that was his solo outing in […]

The trilogy ended in satisfying fashion in 2016 with the cuddly, constantly hungry Po finally coming into his own in his unlikely role as the Dragon Warrior. He is both the student and the teacher. He has the respect of the Furious Five and his mentor, Master Shifu. He’s proven his bravery again and again

Coming out of “Drive-Away Dolls,” an uproarious, sexy and deliciously feminine B-movie, the immediate thing you might realize is just how dearly this particular Coen Brothers flavor has been missed. You know, that quirky, familiarly zany essence last seen in “Burn After Reading” (or perhaps “Hail, Caesar!”), living on its own zippy and colorful terms,

Now, 189 days into his mission, Jakub Prochazka (Adam Sandler), the forlorn cosmonaut protagonist of “Spaceman,” is hurtling toward Jupiter to study the mysterious Chopra cloud. He is nearing his breaking point. Short on sleep in a malfunctioning spacecraft that has seen better days, what’s really occupying his mind isn’t the mission at hand it’s

Why is it that crime big wigs in movies enjoy wasting ammo so much? Late in “Bring Him to Me,” a new heist-and-its-aftermath thriller directed by Luke Spark from a script by Tom Evans, a ruthless boss dispatches one of their soldiers by shooting a heavy-looking automatic into them eight or nine times, when the

Cinema is replete with examples of stories about old couples getting their groove back in their later years. Old age is, after all, a kind of new adolescence, as kids grow old, careers become less important, and your dwindling remaining years gives you more license to throw caution to the wind. That is, if you’ve

The conceit of a tortured and socially maladjusted artist whose obsessive pursuit of their craft pushes them into madness with grisly results is a familiar horror movie premise, one that has covered subjects ranging from beatnik sculptors (the Roger Corman classic “A Bucket of Blood,” with the legendary Dick Miller killing people and covering them

“Io Capitano” plays like it was made for the Best International Feature Oscar race. It’s a type of film usually middle-of-the-road, always well-intentioned that’s designed to tug on the heartstrings of Oscar voters, putting a prestige gloss onto “important” stories, securing its country’s all-important ballot slot in the process. As craven as this process can

Ponderous and dull, “History of Evil” is the kind of script that plays with hot-button ideas instead of having a single thing to say about them. It seems clear that we’re in for a wave of films about the increasingly divided state of the country in the 2020s films like Alex Garland’s upcoming “Civil War,”

“If you’re gonna survive in these hills, you’ll have to get used to a little blood,” purrs Big Cat (Andie MacDowell), an Appalachian drug kingpin just before she has her goons feed a Sheriff’s deputy to her guard dogs. That’s the dime store pulp novel vibe of “Red Right Hand,” from first-time screenwriter Jonathan Easley