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Capsule reviews of recently released films 

(500) DAYS OF SUMMER 2 stars (PG-13) See review.

G-FORCE (PG) Remember Spy Kids? Think of this as Spy Pets. A highly trained team of cute, fluffy animals, including guinea pigs and a mole, go on espionage missions in this 3-D comedy with such voice talents as Nicolas Cage, Tracy Morgan and Penelope Cruz.

ORPHAN (R) Talented indie actors Vera Farmiga and Peter Sarsgaard play a couple who adopt a 9-year-old Wednesday Addams lookalike (Isabelle Fuhrman) who turns out to be a bad seed.

REVANCHE (Not rated) See review.

THE UGLY TRUTH (PG-13) In this rom-com from the director of Monster-in-Law, an unmarried morning TV show producer (“Grey’s Anatomy’s” Katherine Heigl) becomes reluctantly teamed with a boorish on-air personality (300’s Gerard Butler) for a series on dating and relationships. I wonder if they’ll fall in love?


COMIC BOOK FILM FEST. Cinefest Film Theatre. Georgia State University, University Center, Suite 240. 66 Courtland St. July 17-23. 404-413-1798.

BREAKFAST AT TIFFANY’S (1961) Audrey Hepburn delivers an iconic performance as Manhattan free spirit Holly Golightly in this sunny adaptation of Truman Capote’s novella. The only sour note comes from Mickey Rooney’s borderline-racist performance as Holly’s neighbor, Mr. Yunioshi. $8. 7:30 p.m. Thurs., July 23. Coca-Cola Summer Film Series. Fox Theatre, 660 Peachtree St. 800-745-3000. — Holman

2001: A SPACE ODYSSEY (1968) 5 stars (G) Director Stanley Kubrick presents a series of vignettes that mark tipping points in human evolution, from a prehistoric prologue to enigmatic mysteries that span the solar system. The most provocative and challenging science fiction film ever made features remarkable special effects, music and ideas about technological dehumanization and nonhuman intelligence. $8. 7:30 p.m. Sat., July 25. Coca-Cola Summer Film Series. Fox Theatre, 660 Peachtree St. 800-745-3000. — Holman

ADORATION 3 stars (R) An orphaned Canadian teenager (Devon Bostick) delivers a personal account of his parents' involvement in an act of attempted terrorism, but nothing is as it seems. The Sweet Hereafter director Atom Egoyan can be enormously effective at presenting an initial enigma and gradually revealing the truth and different layers of meaning, and the nuanced performances from Bostick and Arsinée Khanjian give the film a rich emotional texture. Adoration's themes of online communities, digital imagery and terrorism prove comparable to the work of novelist Don DeLillo, who also explores the lives of contemporary North Americans alienated by the powerful forces of modernity. — Holman

ANGELS & DEMONS 2 stars (PG-13) In Rome, a Harvard symbologist (Tom Hanks) and a young physicist (Israeli actress Ayelet Zurer) race the clock during a papal election, a hostage crisis and the countdown until a stolen speck of antimatter could wipe out Vatican City. This follow-up to The Da Vinci Code features a faster pace yet a less compelling historical conspiracy. It’s hard to get the sense that Hanks, director Ron Howard or anyone else involved in the production felt passionately about the material, except maybe for the set designers and art directors. Who would guess that Angels & Demons would have more corpses than Wolverine and more technobabble than Star Trek? — Holman

AWAY WE GO 3 stars (R) "The Office's" John Krasinski and "Saturday Night Live's" Maya Rudolph play an unmarried bohemian couple who travel across the continent to pick out a place where they can raise their unborn child. Written by the husband-and-wife novelist team of Dave Eggers and Vendela Vida, the comedy's structure emulates the Ben Stiller comedy Flirting with Disaster as the couple encounter broadly comedic bad parents in other cities, most memorably Maggie Gyllenhaal as a feminist who takes attachment parenting to a kooky new level. Director Sam Mendes takes a change of pace from Revolutionary Road's portrait of a hellish marriage, but the film's scruffy charms barely conceal its lack of substance. — Holman

BIG MAN JAPAN  3 stars (PG-13) This cuckoo-bananas riff on Japan’s giant monster genre offers a mockumentary of Sato (director Hitoshi Matsumoto), a depressed Tokyo resident who we eventually discover is the latest in a line of superpowered national guardians. The film’s deadpan realism gives way to intentionally cheesy fight scenes whenever Sato jolts himself with electricity and fights mind-bogglingly surreal monsters. The film contains intriguing themes of dysfunctional families and superhero satire, although the faux-documentary form unravels and the last 10 minutes take an utterly insane turn seemingly designed to baffle the audience. — Holman

BRUNO 2 stars (R) Austrian fashion journalist Bruno (Sacha Baron Cohen) criss-crosses the world in his quest to become famous and ambush unsuspecting straight guys with dildos and discussions of anal bleaching. In his follow-up to his 2006 uber-hit Borat, Cohen presents essentially the same setup and structure, but comedic lightning fails to strike twice. Bruno elicits just enough laughs to be worth seeing, but the character's not nearly as endearing as Borat, and such hot-button topics as gay marriage, homosexual conversion and "don't ask, don't tell" score fewer political points than you'd expect. — Holman

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