‘Before Midnight,’ reviewed by Marshall Fine

HollywoodandFine.com Anyone who’s been married for any length of time should be able to enjoy Richard Linklater’s “Before Midnight,” if squirming in your seat can be considered a form of enjoyment. The third in a trilogy that began with “Before Sunrise” (1995) and continued with “Before Sunset’ (2004), this film …

‘We Steal Secrets: The Story of Wikileaks,’ reviewed by Marshall Fine

HollywoodandFine.com Other documentarians may be more famous than Oscar-winner Alex Gibney, but there’s no one working right now who afflicts the comfortable with more energy and pointedness than Gibney. “We Steal Secrets: The Story of Wikileaks” is Gibney’s second documentary in less than a year, after the upsetting and revealing …

‘Black Rock,’ reviewed by Marshall Fine

HollywoodandFine.com Having broken through as a filmmaker with the intriguing and moving “The Freebie,” actress Katie Aselton suffers the sophomore slump with her second film as a director, “Black Rock.” Written by her husband, Mark Duplass, “Black Rock” is meant to be a “Deliverance”-style thriller, a girls-vs.-boys tale set on …

‘Star Trek Into Darkness,’ reviewed by Marshall Fine

HollywoodandFine.com The conventional wisdom about the “Star Trek” movies starring the cast of the original TV show was that the even-numbered films were the good ones and the odd-numbered ones kind of sucked. That began to change when the “Star Trek: The Next Generation” movies kicked in; most of them …

‘Aftershock,’ reviewed by Marshall Fine

HollywoodandFine.com Having made his name with the kind of horror films that inspired the term “torture-porn,” producer-writer Eli Roth tries to show that there are other tricks up his sleeve with “Aftershock.” Think of it as a 1970s’ disaster movie, spiked with 21st-century horror effects. Irwin Allen meets Robert Rodriguez. …

‘Stories We Tell,’ reviewed by Marshall Fine

HollywoodandFine.com Sarah Polley’s “Stories We Tell” is one of the year’s best films: funny, moving, thought-provoking – and so personal that it strikes universal chords. While critics often score indulgent filmmakers by referring to their efforts as “home movies,” Polley has turned that insult on its head. She takes her …

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