574 results
    • The Heartbreak Kid

        After spending Valentine’s Day at his ex’s fairytale wedding, the marriage-shy Eddie meets Lila (Malin Akerman) when — in a display of Old World gallantry — he tries to stop a purse-snatcher. Soon, Eddie’s convinced that he’s finally ready to take the plunge by his randy, foul-mouthed dad (Jerry Stiller) and best friend (Robb Corddry), whose own marriage is an exercise in terror. So before the first flush of brain-fogging infatuation has worn off, Eddie marries Lila a few weeks later. On a road trip from San Francisco to Cabo San Lucas, Mexico — in a Mini Cooper that suddenly feels incredibly small — Eddie begins the painful process of discovering that the supremely annoying and clingy Lila is nothing like her lovely facade. But does this realization make Eddie any less of an asshole for pursuing Miranda (Michelle Monaghan), the real girl of his dreams, while on his honeymoon with Lila? It’s a toss-up.
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    • Hollow Man

        Director Paul Verhoeven illustrates the process of becoming invisible by virtuoso special effects sequences, but for all its technological innovations and philosophical underpinnings, in its heart of hearts, Hollow Man is a big-budget B-movie whose
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    • Space Cowboys

        There are few surprises in this comfortably familiar entertainment directed by Clint Eastwood. With plenty of quips about senior citizens in space, it’s a decidedly different summer movie: a kinder, gentler Armageddon for the AARP crowd.
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    • Meet Dave

        When Dave Ming Chang makes his first appearance, crash-landing ostrich-style on Liberty Island then taking his first tentative steps like a marionette being jerked in a dozen different directions. See, Dave is a vessel for Lilliputian aliens who have come to locate an ocean-draining orb that’s fallen into the hands of gawky Josh Morrison (Austyn Lind Myers). The tiny crew members each guide different parts of Dave’s anatomy under the guidance of their Captain, also played by Murphy. With multiple Murphys and an unusual premise, Meet Dave has potential, but quickly unravels. For every clever bit, there are moments of stupefying lameness that are only funny in a parallel universe.
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    • Goya’s Ghosts

        Goya’s Ghosts is the work of an old master who, like the painter he depicts, is a tireless chronicler of his tumultuous times, even when he’s making a period film. Czech-born director Milos Forman has said he wanted to explore the effects of the Spanish Inquisition long before the current War on Terror began, but his historical fiction works as a pointed commentary on the belligerent righteousness of contemporary politics. In addition to the religious intolerance epitomized by the Inquisition, the film delves into the paradoxical aftermath of the French Revolution, when the self-anointed Emperor Napoleon I imposed freedom by violently overthrowing a sovereign government in Spain. All of which makes Forman’s backwards glance feel incredibly timely. Too bad the resulting film isn’t as good as its intentions.
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    • XXY

        Alex (Inés Efron) asks her father, Kraken (Ricardo Darín), why he’s so intensely protective. After all, this marine biologist with a passionate streak for preserving endangered species has always made his daughter feel that she’s "perfect," regardless of how others may perceive her. Alex was born with intersex conditions — female and male reproductive organs as well as the chromosomes of both genders — he declined the recommended surgery. Kraken and wife Suli (Valeria Bertuccelli) opted to raise the child as a girl, but left the ultimate decision up to Alex. Now Suli has doubts about their approach, contacting their old friend Ramiro (Germán Palacios), a renowned plastic surgeon in Buenos Aires, and inviting his family for a visit to their isolated beach house in Uruguay. She believes the time for willful ambiguity has come to an end, and presses for gender assignment surgery, especially after learning that Alex stopped taking the hormones that suppress her male characteristics. The most radical aspect of XXY isn’t the frank adolescent sexuality or even the question of intersex identity. It’s the idea that gender isn’t fixed but fluid, and that for someone like Alex, the most shocking choice may be not choosing at all.
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    • Divorce Italian Style

        The Sicily of director Pietro Germi’s 1961 black comedy Divorce Italian Style has an impossibly sunny face and a bitter heart of darkness. Baron Ferdinando Cefalù (Marcello Mastroianni) is narrator, protagonist, and embodiment of everything wrong in the society he both mocks and manipulates to his own ends. Known as Fefé to his overbearing family, the Baron is nearing 40. He has become obsessed with his teenage cousin Angela (Stefania Sandrelli), and hatches an intricate plot to murder Rosalia. The twist here is that the Baron expects to get caught: He plans to steer his wife into the arms of another man, and then use “crime of honor” as his legal defense. His reasoning is two-fold: divorce was illegal at the time, but the status-conscious Fefé realizes that as a cuckold who kills a cheating wife, he would not only receive a shorter prison sentence, but he’d also become a local folk hero.
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    • Just Looking

        This look at carnal curiosity in 1955, directed by actor Jason Alexander ("Seinfeld"), is a charming, ribald memory tale about the rocky transition from innocence to experience. Nothing flashy or earth-shattering here, just solid performances and a story told with clarity and kindness.
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    • Remember the Titans

        Director Boaz Yakin’s earnest, based-on-a true-story portrait of the 1971 high school football season, when a newly integrated team set an example for segregated Alexandria, Va. — with Denzel Washington.
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    • Aimée & Jaguar

        This story of a passionate love affair begun by two women in Berlin during the final years of World War II strives to shatter stereotypes of Germans goose-stepping to Hitler’s agenda. The performances are uniformly fine, but the revelation is Maria Schrader.
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    • Cecil B. Demented

        The latest criminal mastermind from the fecund imagination of director John Waters demands the total annihilation of the film industry as we know it. Waters reintroduces the hopped-up sexual deviants of his earlier films, but this time he gives them a mis
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    • The Secret Life of Bees

        On the eve of her 14th birthday, Lily Owens (Dakota Fanning) is watching President Lyndon Johnson on television with her family’s housekeeper Rosaleen Daise (Jennifer Hudson) as he announces the signing of the Civil Rights Act. For that moment, it feels like institutionalized oppression might be lifted overnight, but that euphoria will be short-lived. As much as Secret Life is about individual bravery, Kidd’s tale swiftly punishes anyone who dares openly challenge the powers that be. The film opens with Lily’s unhappy life at a peach farm with her loutish father T. Ray (Paul Bettany), the bond she’s formed with Rosaleen, and her longing for a mother whose death she feels responsible for. When Rosaleen is beaten by a group of white men for trying to register to vote, the overlooked, undervalued Lily takes action, fleeing Georgia with her best friend and heading for Tiburon, S.C. There, they find an Eden in the soothing hot pink residence of the Boatwright sisters, surrounded by 28 acres of sun-drenched woodland where an apiary is situated. The coolly commanding August (Queen Latifah) runs the honey business and takes in these two strays — to the chagrin of the strident June (Alicia Keys), a cellist and music teacher. The childlike May (Sophie Okonedo) eagerly accepts these new companions, and her immense empathy makes her aware that they may be traveling light, but they carry heavy baggage.
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    • One Night at McCool’s

        Jewel (Liv Tyler) is different things to different men, but always the kind of woman who engenders obsession. Though the characters in this sprightly film lack the depth they so desperately need (particularly the men: Matt Dillon, Michael Douglas, John Goodman and Paul Reiser), Tyler holds her own with a newfound voluptuousness.
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