Andrew Stanton's John Carter is neither the next step in grand-scale franchise filmmaking nor an unmitigated disaster. I appreciated the sheer weirdness of the prologue, while in turn wanting the film to 'just get on with it.'

Detachment works as a powerful character study and a searing indictment of the institutional disinterest in education that allows seemingly dedicated educators to eventually become as much a problem as a solution.

Considering how much the opening act of the film stresses the impact of having children on social relationships among adults, it's dispiriting to see the kids pretty much disappear after the first act.

Disney is so desperate to not only chase the young male demos that is willing to risk alienating the young female demos that has netted it billions of dollars over the many decades.

Years from now, marketing schools will teach John Carter as an example of where the Disney team did everything wrong, at least in America.

Despite the R-rating and the profanity and occasional violence to justify it, this is a truly warm and openly sweet movie about two unlikely friends and how their on-the-job crisis affects their relationship.

The 'real' Eddie Murphy is the one we have now and have had for the last sixteen years. Murphy tried to tell us the truth back in the summer of 1996. Buddy Love may be the Eddie Murphy we all claim to love, but the real Eddie Murphy was always Sherman Klump.

There isn't anything too surprising about a well-marketed and well-reviewed mainstream comedy opening well on its debut weekend. Still, 21 Jump Street topped the box office this weekend with a whopping estimated $35 million.

The Hunger Games a huge win for the idea of female-fronted blockbusters and the concept that females don't have to be regulated to romantic comedies. But arguably as important, it's a win for the idea of franchise originality.

On the surface, Goon is an assembly-line underdog sports movie. And yes the film hits a handful of familiar story beats along the way. But there is a subtle intelligence to the picture, with characters that are far less broad than you'd expect and a screenplay that feels authentic.

Jonathan Liebesman's Wrath of the Titans is arguably about as 'good' as a movie called Wrath of the Titans can be expected to be.

If feminism is about having the choice to, as a woman, live your life as you see fit, isn't her dogged pursuit of Mr. Cullen inherently feminist by virtue of it being absolutely Bella's choice?