American - Critic | December 6, 1958 -
The kind of filmmaking excitement that director Peter Weir brings to movies is bone deep.
Elvis Mitchell
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Natalie Portman's approach to acting demands that she wears her heart on her sleeve so explicitly, the heart becomes the whole garment - a crimson chemise with streaks of blue veins running across it.
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In period films, it always helps to have someone built to carry a sword, and Channing Tatum clearly hasn't missed a workout for the past two years, so he fits the bill in that regard.
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'Certifiably Jonathan' contrives crises for its subject - a bid to get his paintings into MOMA, among others.
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A stand-up comedian who's assaultive and decent and has managed a career that has spanned over five decades deserves a documentary.
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The Comedy of Emasculation that Judd Apatow and his disciples have made into a separate economy was invented by the Farrelly brothers, 'Kingpin' being the strongest version of that.
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It is fun to see a comedy in which every single joke hasn't been packed into the trailer.
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No actor has made a career of exerting determination to the extent that Matt Damon has. In the 'Bourne' movies, he burned himself down to a central nervous system - his focus fried away unnecessary calories.
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In 'The Adjustment Bureau,' Damon shows movie-star concentration as David Norris, a politician whose world ambitions hit a pothole when his angry streak becomes public.
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Like his countryman, Kiefer Sutherland, Seth Rogen has a voice that's 10 years older than he is - a combination of world-weariness and exuberance, an instrument that he's mastered for specific comic shadings.
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Duncan Jones has skills; he's an architect of emotional dislocation.
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Who would ever have thought that Robert Ludlum would have become the father of modern action cinema?
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