Todd Gilchrist

As if in response to Cate Blanchett’s Oscar acceptance speech contention that audiences want to see films with women at the center of them, Tyler Perry’s latest, ‘The Single Moms Club,’ focuses on four women struggling, often with humor, to deal with single parenthood. Unfortunately, Perry’s gift at creating opportunities for actresses to lead their own movies does not extend to creating good movi

Quite frankly as misguided and problematic as the forlorn romanticism of Kenneth Branagh’s 1994 adaptation, not to mention as ridiculously self-serious, Stuart Beattie’s ‘I, Frankenstein’ isn’t even campy enough to be fun. Cut from the mold of the films in the ‘Underworld’ series, Beattie’s film similarly eschews the natural intrigue of the original mythology to pump it full of steroids and Hot To

It should have been called ‘No Homo: The Movie.’ Vin Diesel, whose entire career feels like homage to the musclebound machismo of the 1980s, has possibly reached the peak – by which I mean, nadir – of his search for the meaning of virility. ‘Riddick,’ the overdue, and largely unwanted, third installment in Diesel’s first big film series, is so full of tough-guy overcompensation that it makes the ‘

'Oblivion' is best described as opportunity, squandered. Its landscape – conceptual and physical – feels remarkably unique and bursting with possibilities, but the exploration of both lacks originality, and energy. Joe Kosinski’s follow-up to 'TRON: Legacy' is, like its predecessor, a gorgeously mounted, inventive world-building endeavor, but it’s also equally bloodless -- ponderous without being