Director Anton Corbijn creates a moody but minimalist atmosphere in The American. The camera is mostly static, music scarcely heard, and shots linger. While thrillers usually depend on opposite tactics to set the tone, Corbijn strips those away—instead allowing circumstance and psychology alone to create confusion and build tension.
When there's been nothing more than mindless popcorn flicks at a theater near you this summer, you can't help but want to root for a seemingly charming little movie like Flipped. But when the end product is little more than a plodding slice of nostalgia, you simply want something more.
Nanny McPhee Returns is a pure delight from beginning to end. It's packed with uplifting wit, nice plot twists, and a thought-provoking storyline that's bound to bring out the best in both adults and kids. It wouldn't be an overstatement to say it borders on inspiring.
This is a comedy about bodily fluids, with a few funny moments that unfold during the switch that give the film its title. But this is also a character-driven comedy about a man's slow awakening to the possibility that he's found someone he can spend his life with, and a responsibility to someone other than himself.
An uplifting story of guilt, repentance and reconciliation, Get Low stands head and shoulders above most 2010 films. It's a low-key work that is profound in its simplicity—an oasis amid meaningless fare that always dominates the multiplex, but never more so than during the summer months.
That we are to be moved by the big-screen version of Elizabeth Gilbert's yearlong journey of self-discovery in Eat Pray Love is absurd. That the memoir on which it's based (and is reverent to) has become a phenomenon is downright disturbing.