Time was, when Woody Allen delivered a clunker, you wondered, in what back drawer the screenplay had been sitting — and for how long.
With his deeply disappointing new film, “Wonder Wheel,” you wonder how long the script might have been sitting in Clifford Odets’ back drawer. Or Arthur Miller’s.
Yes, it’s that stale.
Though it centers on a hostage crisis in New York City, “Money Monster” is no “Dog Day Afternoon.”
It is, however, a dog.
In the pensive and nimble “A Hologram for the King,” Tom Hanks isn’t waiting for Godot. But he might as well be.
Hanks plays Alan Clay, once one of the best salesmen at one of the best companies in America: Schwinn Bicycles. But then he became part of a move to outsource most of the company’s labor to China (“It seemed like a good idea at the time,” he ruefully explains) and before long, Schwinn was a mere shadow of itself, with hundreds of employees out of a job. (One of Alan’s recurring nightmares is the day he had to lay off all those people).
Having ruined “New Year’s Eve” and Valentine’s Day,” Garry Marshall now takes dead aim at “Mother’s Day.”
Moms of every shape, size, and soap-opera lineage run amok in this insultingly simple-minded tribute to the holiday made in Hallmark heaven.
For the second time in a matter of weeks, the supposed “kids” movie turns out to be the best thing on screen.
“The Jungle Book” is just wonderful. Better than wonderful. There’s more sheer WOW!!! in this adaptation of Rudyard Kipling’s classic than in a dozen superhero flicks.
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