When Harry Met Sally

Down to Earth, Chris Rock’s remake (directed by Chris and Paul Weitz) of Heaven Can Wait (1978)—itself a remake of Here Comes Mr. Jordan (1941)—is a disappointment. Though there are some very funny things in it, its glib message about being oneself turns out to be a cover for being self-indulgent, in the style (I’m…

A remarkable evocation by the director of Central Station of life in the outback of Brazil 90 years ago is spoiled by a facile ending.

Liv Ullmann’s direction of the screenplay of her former director, “mentor” and lover, Ingmar Bergman in Faithless (Trolösa), is remarkably competent—remarkably Bergmanian—in all kind of technical ways, but I wonder if she was fully alive to the subtleties built into this story of a broken marriage? For that matter, I wonder if Bergman himself is?…

The first crime of Father Amaro, it seems, was in his ever allowing himself to get mixed up with that gang of mobsters known as the Roman Catholic Church

Josh and Jonas Pate, co-directors of Deceiver, have all the vices of the Coen brothers—mainly pretentiousness and self-conscious artiness—without any of the virtues. Their film is not funny and not even particularly intelligent, although it tries very hard to be the latter. So much so, indeed, that the three main characters are introduced to us…

In its native Australia, Cherie Nowlan’s Introducing the Dwights was called Clubland, and you can see how that title could have been confusing to an American — or to a British — audience. The clubs of Sydney, where the film is set, feature magicians, ventriloquists, even a guy who imitates bird-songs. In short, they are…