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Dear Flixster Community,

After seven fabulous years with you all, we are sorry to let you know that we're going to be retiring the Flixster Community site on September 30, 2014. Please note that you can still access your ratings, reviews, and quizzes on Flixster and Rotten Tomatoes using your same login. We have had so much fun building this community with you.

Thanks for all the memories,

Opening This Week

Top Box Office

  • Coco

    Coco (PG, 2017)

    Despite his family's baffling generations-old ban on music, Miguel (voice of newcomer Anthony Gonzalez) dreams of becoming an accomplished musician li... read more
  • Justice League

    Justice League (PG-13, 2017)

    Fueled by his restored faith in humanity and inspired by Superman's selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to ... read more
  • Wonder

    Wonder (PG, 2017)

    Based on the New York Times bestseller, WONDER tells the inspiring and heartwarming story of August Pullman. Born with facial differences that, up unt... read more
  • The Disaster Artist

    The Disaster Artist (R, 2017)

    The real life story of writer/director Tommy Wiseau, the man behind what is often referred to as "The Citizen Kane of Bad Movies," The Room, is brough... read more
  • Thor: Ragnarok

    Thor: Ragnarok (PG-13, 2017)

    In Marvel Studios' "Thor: Ragnarok," Thor is imprisoned on the other side of the universe without his mighty hammer and finds himself in a race agains... read more
  • Daddy's Home 2

    Daddy's Home 2 (PG-13, 2017)

    Dusty (Mark Wahlberg) and Brad (Will Ferrell) have joined forces to provide their kids with the perfect Christmas. Their newfound partnership is put t... read more
  • Murder On The Orient Express

    Murder On The Orient Express (PG-13, 2017)

    What starts out as a lavish train ride through Europe quickly unfolds into one of the most stylish, suspenseful and thrilling mysteries ever told. Fro... read more
  • The Star

    The Star (PG, 2017)

    In Sony Pictures Animation's THE STAR, a small but brave donkey named Bo yearns for a life beyond his daily grind at the village mill. One day he find... read more
  • Lady Bird

    Lady Bird (R, 2017)

    In Lady Bird, Greta Gerwig reveals herself to be a bold new cinematic voice with her directorial debut, excavating both the humor and pathos in the tu... read more
  • Just Getting Started

    Just Getting Started (PG-13, 2017)

    From Ron Shelton, writer/director of Tin Cup and Bull Durham, comes the new comedy, Just Getting Started. Morgan Freeman stars as DUKE DIVER, the free... read more

More Movies In Theaters

  • A Bad Moms Christmas

    A Bad Moms Christmas (R, 2017)

    A BAD MOMS CHRISTMAS follows our three under-appreciated and over-burdened women as they rebel against the challenges and expectations of the Super Bo... read morewl for moms: Christmas. And if creating a more perfect holiday for their families wasn't hard enough, they have to do all of that while hosting and entertaining their own mothers. By the end of the journey, our moms will redefine how to make the holidays special for all and discover a closer relationship with their mothers.
  • Three Billboards Outside Ebbing, Missouri

    Three Billboards Outside Ebbing, Missouri (R, 2017)

    THREE BILLBOARDS OUTSIDE EBBING, MISSOURI is a darkly comic drama from Academy Award winner Martin McDonagh (IN BRUGES). After months have passed with... read moreout a culprit in her daughter's murder case, Mildred Hayes (Academy Award winner Frances McDormand) makes a bold move, painting three signs leading into her town with a controversial message directed at William Willoughby (Academy Award nominee Woody Harrelson), the town's revered chief of police. When his second-in-command Officer Dixon (Sam Rockwell), an immature mother's boy with a penchant for violence, gets involved, the battle between Mildred and Ebbing's law enforcement is only exacerbated.
  • Wonder Wheel

    Wonder Wheel (PG-13, 2017)

    WONDER WHEEL tells the story of four characters whose lives intertwine amid the hustle and bustle of the Coney Island amusement park in the 1950s: Gin... read moreny (Kate Winslet), an emotionally volatile former actress now working as a waitress in a clam house; Humpty (Jim Belushi), Ginny's rough-hewn carousel operator husband; Mickey (Justin Timberlake), a handsome young lifeguard who dreams of becoming a playwright; and Carolina (Juno Temple), Humpty's long-estranged daughter, who is now hiding out from gangsters at her father's apartment. Cinematographer Vittorio Storaro captures a tale of passion, violence, and betrayal that plays out against the picturesque tableau of 1950s Coney Island.
  • The Man Who Invented Christmas

    The Man Who Invented Christmas (PG, 2017)

    The Man Who Invented Christmas tells of the magical journey that led to the creation of Ebenezer Scrooge (Christopher Plummer), Tiny Tim and other cla... read moressic characters from A Christmas Carol. Directed by Bharat Nalluri (MISS PETTIGREW LIVES FOR A DAY), the film shows how Charles Dickens (Dan Stevens) mixed real life inspirations with his vivid imagination to conjure up unforgettable characters and a timeless tale, forever changing the holiday season into the celebration we know today.
  • Roman J. Israel, Esq.

    Roman J. Israel, Esq. (PG-13, 2017)

    Roman J. Israel, Esq. is a dramatic thriller set in the underbelly of the overburdened Los Angeles criminal court system. Denzel Washington stars as a... read more driven, idealistic defense attorney whose life is upended when a turbulent series of events challenge the activism that has defined his career. Colin Farrell costars as the ambitious, monied lawyer who recruits Roman to his firm.
  • Jigsaw

    Jigsaw (R, 2017)

    Thirteen years ago on Halloween weekend--SAW and the character of JIGSAW introduced the world to a new face of horror. For seven straight years "If it... read more's Halloween it must be SAW" was a holiday tradition. This October 27, Lionsgate and Twisted Pictures proudly present JIGSAW! After a series of murders bearing all the markings of the Jigsaw killer, law enforcement find themselves chasing the ghost of a man dead for over a decade and embroiled in a new game that's only just begun. Is John Kramer back from the dead to remind the world to be grateful for the gift of life? Or is this a trap set by a killer with designs of their own?
  • Geostorm

    Geostorm (PG-13, 2017)

    A satellite designer (Gerard Butler) must race to avert a catastrpohe when the planet's climate control satellites begin to malfunction in this sci-fi... read more action adventure from Warner Bros. and writer/producer/director Dean Devlin (making his feature directorial debut here). ~ Jason Buchanan, Rovi
  • The Lego Ninjago Movie

    The Lego Ninjago Movie (PG, 2017)

    In this big-screen NINJAGO adventure, the battle for NINJAGO City calls to action young Master Builder Lloyd, aka the Green Ninja, along with his frie... read morends, who are all secret ninja warriors. Led by Master Wu, as wise-cracking as he is wise, they must defeat evil warlord Garmadon, The Worst Guy Ever, who also happens to be Lloyd's dad. Pitting mech against mech and father against son, the epic showdown will test this fierce but undisciplined team of modern-day ninjas who must learn to check their egos and pull together to unleash their inner power of Spinjitzu.
  • Tyler Perry's Boo 2! A Madea Halloween

    Tyler Perry's Boo 2! A Madea Halloween (PG-13, 2017)

    Madea and the gang are back for this hilarious sequel. Madea, Bam and Hattie venture to a haunted campground and the group must literally run for thei... read morer lives when monsters, goblins and the bogeyman are unleashed.
  • The Mountain Between Us

    The Mountain Between Us (PG-13, 2017)

    Stranded after a tragic plane crash, two strangers must forge a connection to survive the extreme elements of a remote snow covered mountain. When the... read morey realize help is not coming, they embark on a perilous journey across hundreds of miles of wilderness, pushing one another to endure and discovering strength they never knew possible. The film is directed by Academy Award nominee Hany Abu-Assad and stars Academy Award winner Kate Winslet and Idris Elba.

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Top In Theater Reviews

  • The Disaster Artist (R, 2017)

    I was very skeptical of Franco in the lead and I thought the film would lampoon the characters but m... read morey fears were not required. Franco delivers an incredible performance and manages to keep a legacy intact by breathing life into these characters. The Room is one of the worst films but one of the best unintentional comedies ever created. Ed Wood and Uwe Bowell are the only few directors I can recall having that similar bad luck with filmmaking. This film is a great companion piece to the first and this is the defining moment for Franco as director and star. The film is incredible and is a riot to watch. 06-12-2017.
  • Lady Bird (R, 2017)

    I love great coming of age films, and this film is just that. Saoirse Ronan and Laurie Metcalf are t... read moreerrific in this funny, charming and grounded film about growing up a girl from a modest family discovering herself and aspiring to more than what is expected of her, and parents making hard sacrifices and letting go. The mother-daughter relationship is complex and portrayed as such, and the friendships seem real and fun. My only problem with the film is the pace, which seems rushed in the beginning and then slows down later. Otherwise, a great small-scale film that has a lot to say.
  • Wonder (PG, 2017)

    - by fb100000124099262
    I know I've said this on several occasions, but I'm never a fan of films that seem to be made specif... read moreically to make the audience cry. I bring that up because it could appear to some people that Wonder does that very thing, as the film revolves around a child born with Treacher Collins Syndrome and the various troubles that his family goes through with a world that doesn't understand the genetic disorder. Naturally a film that centers upon a child constantly being made fun of is difficult to handle emotionally. However, Wonder approaches this subject matter with a certain amount of genuineness that is undeniably endearing. So the problem I have with the films mentioned above, does not apply here at all.

    I'm not one of those people who go out of their way to deny when films bring them to tears and so I'm going to flat out say right now that I don't believe any film has impacted me this much and at a consistent rate than Wonder did. I can't tell you how many times I found myself clearing my eyes from the rain shower that was about to invade my sight. And I say this with so much respect and admiration to what this film was able to accomplish. Credit should most definitely be given to Stephen Chbosky's directing, adapting, and also R.J. Palacio's book the film is based on. But I was most impressed with the casting and performances of the film.

    After 'Room', we all knew he was in for great things, and Wonder is yet another example of the prodigy that is Jacob Tremblay's the actor (Auggie). Being the heart and soul of the movie, Tremblay gives a wonderfully poignant performance, and equally balances his innocence at 10 years old but also the inner strength he displays in not giving in to the bullies he faces. I also found the rest of the young actors they cast as his classmates to be impeccably realized. A lot of times when you have a bully(s) storyline it's difficult to portray their antics honestly. It usually feels like they are writing the bully's dialogue to service the arc of the main protagonist. In Wonder, every character of importance has depth and it's understood why the particular person would say or do whatever they were doing in those moments. Heck, there were moments where I felt bad for the bullies in Auggie Pullman's life.

    This also goes for Auggie's parents and sister as well played by Julia Roberts, Owen Wilson, and Izabela Vidovic respectively. It was difficult to adjust at first, because I was so attached to Auggie's story, but I really appreciated this film taking the time to round out his family and friends. The film even chooses to have particular sequences in the other character's perspectives, which brings up an interesting topic the film covers. That is, the idea of equating your problems with those of someone in a different position than you. Auggie, having a facial deformity, certainly goes through a great deal of pain as the grade and most of society doesn't view him as a normal kid. However, the film also provides other characters with their own issues like Via (his sister) not receiving any attention from her parents, Miranda's (Via's friend) parents being divorced, and Jack Will (Auggie's best friend) having to forcibly hang out with him at first. By no means are some of those issues at the same level as Auggie's, but I appreciate this story taking the time to detail the supporting characters and not just show them as people without a backstory, which is what plenty of films do.

    Overall, Wonder is a film I didn't expect to love so much. My only complaints, which are very minuscule to the ultimate plot, are one particular small plot decision (that I know the book also did) late in the third act which I felt was entirely unnecessary and a little bit manipulative. Aside from that, the film is perhaps 7-10 minutes too long, but there's so many things to hang your hat on that those complaints didn't matter in the long run. It's as endearing as it is earnest in its storytelling, and we need more movies like that these days.

  • Just Getting Started (PG-13, 2017)

    ..... I have no words. I know actors do movies out of contractual obligation or just for a paycheck,... read more but do they ever NOT make a movie out of pride?
  • Justice League (PG-13, 2017)

    DC always seems to be missing something? It never quite hits the spot and feels like an effort to wa... read moretch to the end!
  • Murder On The Orient Express (PG-13, 2017)

    An all-star thud of a dud. Branagh loving Branagh. (12-9-17)
  • Murder On The Orient Express (PG-13, 2017)

    - by fb720603734

    I'm a hug... read moree fan of the Sidney Lumet's 1974 version of MURDER ON THE ORIENT EXPRESS. Albert Finney's portrayal of Agatha Christie's Belgian detective, Hercule Poirot, had a winning combination of humor and gravitas. The supporting cast felt emotionally connected to the material, even garnering an Academy Award for Ingrid Bergman's touching performance. It was an old school, star-studded, lush whodunit with one of the more surprising and brutal reveals in the history of its genre. Lumet showed off his masterful skills at shooting a film in enclosed spaces, as he did here and with DOG DAY AFTERNOON and TWELVE ANGRY MEN.

    I wasn't opposed to the current remake, directed by and starring Kenneth Branagh, adapted by Michal Green (BLADE RUNNER 2049, LOGAN). With the advent of better technology, a generation or two unfamiliar with the original or even the novel, and the potential for some more current star power to occupy those roles, why not? Well...

    These are tense times we're living in, and the latest version will provide some elegant, escapism in the "they don't make 'em like they used to" vein. Branagh and company have produced a grand experience, tacking on an unlikely but somehow fun prologue set at the Wailing Wall (!) in Jerusalem. It nicely serves to demonstrate Poirot's skills at predictive behavior and set up his obsession with balance to the natural order. The stars all get their grand entrances, a welcome sight in a time where things like that seem to get ignored more and more. Branagh and his cinematographer Haris Zambarloukos (LOCKE, THOR) have a great time as the camera swoops around the train compartments or peeks in from outside to reveal the entire cast at times doing their individual things. The film has a quiet, whispery quality to its tone, sometimes reaching poetic levels. These are all very good things. But...

    It's also a bit of a stillborn bore. Sure, there's a lot of production value gained by the grand CGI train shots, especially during an avalanche sequence, but too much of it felt a bit phony, as if we were on our way to Hogwarts. Branagh presents himself with perfectly coiffed hair and a mustache to end all mustaches, and he does a very good job of balancing the seriousness of the situation with the entertaining fussiness of his detective. You always feel confident that he's listening, paying attention to body language, turns of phrases, and nuance. I had no doubt he was the greatest detective in all the world! But, he's front and center in a way that almost completely overshadows everyone else's performances. Great actors have been give very little to do despite being totally game for the material.

    This cast includes Michelle Pfeiffer, Johnny Depp, Penélope Cruz, Judi Dench, Willem Dafoe, Daisy Ridley, Leslie Odom Jr., Josh Gad, and Derek Jacobi, Olivia Colman, and Lucy Boynton. With the exception of Pfeiffer, who has had a grand time being outrageous in films lately, and Depp, who proves appropriately weaselly as an intimidating gangster, most of the actors barely register. I wanted to feel more, especially given the fact that this group of people are trapped on a train with a murder victim, violently stabbed to death. The tone grows blasé real fast, where in real life, I would think panic would have set in more. What this film needs is Melissa Leo being dragged by her hair down the aisle of the train ala OLYMPUS HAS FALLEN!

    Some scenes have been staged to "open up" the film, such as an improbable outdoor conversation between Branagh and Ridley, and an outside "Last Supper" shot of the entire cast when the big reveal occurs. It comes across as desperate and unnecessary, since Branagh does a really good job with the claustrophobic interior spaces. I also felt let down by the big reveal, a viscerally intense scene in the original. In the new version, the stabbing sounds have been mostly replaced by score, diluting an indelible moment.

    It's still a film with the element of surprise, if you're unfamiliar with the material, but it's still a slog. Watch the first one instead or see the new one just to escape the horrors of the 24 hour news cycle. You could do worse, but Branagh could have done a whole lot better.
  • Lady Bird (R, 2017)

    - by fb720603734
    FLY AWAY HOME - My Review of LADY BIRD (4 Stars)

    Oftentimes, actors make really great dir... read moreectors because of the work they get out of their cast. Not all of them have a great visual sense, but the performance quality may make up for it. It's rare that a filmmaker comes from the acting pool who is the entire package, someone who speaks in the rhythms of cinematic storytelling, someone who knows just where to put the camera, how to use editing to enhance a mood, and make music choices to work perfectly in sync with the people on the screen. With LADY BIRD her debut feature as writer/director, acclaimed indie actor Greta Gerwig (FRANCES HA, 20TH CENTURY WOMEN), we have what I think is the best directorial debut by a performer since John Cameron Mitchell's HEDWIG AND THE ANGRY INCH from 2001, and her film is easily one of the best pictures of 2017.

    First off, for everyone confused by the title, it is NOT a biopic about a former First Lady. LADY BIRD tells the story of Christine 'Lady Bird' McPherson (the incredible Saoirse Ronan), who, in 2002, faces her graduation from Catholic High School. An intensely confident person, Lady Bird dreams of fleeing the nest and escaping the mundanity of Sacramento for college somewhere on the east coast. She and her best friend Julie (Jonah Hill's scene-stealing younger sister Beanie Feldstein) exist on the outcast spectrum of students, munching on Communion Wafers and cracking each other up with talks of masturbation, boys, and popular girls such as Queen Bee Jenna Walton (a wonderfully dead-eyed Odeya Rush).

    At home, she's stifled by her intensely controlling mother Marion (a never better Laurie Metcalf), who works as a Mental Health Nurse and is married to Larry (Tracie Letts), a depressed, unemployed but kind husband. He may be best known as the Pulitzer Prize-winning writer of AUGUST, OSAGE COUNTY, but film after film has me convinced that he's an even better actor. Nobody mixes deadpan and anger together so seamlessly as Letts. The film sets up the central relationship of mother and daughter so perfectly in its opening scene as they return home from a college tour. Lady Bird worries that people can tell she's from Sacramento, which she calls "the Midwest of California". They argue about work ethic, which leads to a shocking yet hilarious end to the scene. There's so much resentment, anger, and yet, true care on display, all of which will find their way into the rest of the story.

    Although on the surface, this can be described as your typical coming-of-age story, it's the tone, the writing, the performances, the direction, and the mother-daughter bond that sets it apart. There's a reason the film begins with a quote from Joan Didion, who like Gerwig, hails from Sacramento. It reads, "Anybody who talks about California hedonism has never spent a Christmas in Sacramento." With that, we know this film will have something more on its mind than boobs and drunken nights, although they do play a part here as well! It's really, though, perhaps the best depiction of a parent/child relationship with all of its conflicting emotions butted up against each other, since TERMS OF ENDEARMENT. A scene where they argue in a thrift shop only to come together over the perfect dress illustrates this point wonderfully. By emphasizing the prickly bond between Ronan and Metcalf, Gerwig upends the tropes often seen in high school stories.

    Oftentimes, these tales are about the girl getting the guy. Here, that's represented by Lucas Hedges as Danny, who Lady Bird crushes on as they both get cast in the Drama Club presentation of "Merrily We Roll Along". Hedges, so good in MANCHESTER BY THE SEA, shines again as a quirky, shy guy who bit by bit has his own journey of discovery. He's also incredible at melt-downs. In MANCHESTER, he broke my heart when he cried at the refrigerator, and here he does it again in a profoundly moving scene with Ronan. It travels a course from anger to forgiveness with such sly precision. It's a perfect little gem of a scene.

    She also falls for the sullen, pretentious musician Kyle (Timothée Chalamet, of the upcoming CALL ME BY MY NAME), and it's to the movie's credit that these relationships serve to help Lady Bird figure out who she is and what she wants to be, but they don't define her. She's gonna meet other guys. She'll have a few failed relationships, but she'll incorporate them just as she does with the sights, smells and sounds of the hometown she can't wait to escape but may some day learn to appreciate.

    Her last year in school carries a lot of the humor in the film, from her run-ins with a strict but caring Nun (Lois Smith, who has done great work in 2017) to the oddity of her drama teacher (August Wilson acting legend, Stephen McKinley Henderson). Much is presented in breezy montages that don't have that cheap, lazy storytelling quality we're so accustomed to getting. Instead, they're complex, rhythmically odd with interesting vocal pre-laps and lovely musical accompaniment by the great Jon Brion. The story often unfolds like a gorgeous, sun-kissed memory piece. I also loved the scene in which Ronan and her peers listen to a guest speaker (THE COMEBACK'S fantastic Bayne Gibby) extol on the evils of abortion. Ronan's response to her gives us perhaps the funniest line of the film, making this my favorite school assembly scene since the one in ELECTION.

    A special mention must be made of the editing, courtesy of Nick Houy, who doesn't have a lot of credits, but counts the magnificent THE NIGHT OF as one of them. Greta Gerwig's public persona oozes quirkiness, and her distinctive voice can be felt in every frame of this film. While Ronan channels her so well while creating a character all her own, the editing seems so in tune to Gerwig's aesthetic. Scenes begin and end in some very original places, honoring the intelligence of the audience. The last moment of the film in particular excited me by cutting to black at a really unsettled moment. I thought of SAY ANYTHING, and how we wait for the airplane's seatbelt sign to ding, which served as the moment of comfort for our main characters. In LADY BIRD, Houy and Gerwig chose to cut to black on Ronan's inhale of breath. Watch for it yourself and see how it makes you feel something you might not have expected.

    I also really loved the cinematography by frequent Noah Baumbach collaborator, Sam Levy. This is a small indie, but the camera placement, the golden hues and the cool blues add up to a look that's just right for this movie. The actors feel so comfortable on camera, making this a joy to watch from beginning to end.

    Gerwig maintains that there was no improvising on her set, and with a script this specific and well-realized, there doesn't seem to be a need. She subverts your expectations time after time. An airport scene, which has the potential to line up every cliche in the book, surprises you with its bittersweet outcome. Same goes for the twists and turns Lady Bird goes through with her best friend. Nothing got under my skin more, however, than a scene at the kitchen sink, with Metcalf's back to the camera as Ronan begs for her mom to talk to her. This movie grabbed me when I least expected it to do so.

    It's with this attention to the writing, editing and cinematography that Gerwig, for me, establishes herself as a formidable filmmaker. I was fortunate enough to hear her speak on this after the screening I attended, and I've never heard a director articulate their vision so well as she has. I can't wait to see what she does next, because Greta Gerwig is the real deal. So is this lovely, memorable, beautiful film.
  • The Disaster Artist (R, 2017)

    - by fb100000293612769
    Featuring excellent work from both Franco brothers, The Disaster Artist is a funny and strangely hea... read morert-warming film about the difficulties of Hollywood and the love of the craft.
  • Thor: Ragnarok (PG-13, 2017)

    You could say a movie about the end of the Asgardian World shouldn't be funny, or at least not be no... read moren-stop comedy. Then again, how could you tell a story about a God of thunder teaming up with a green giant Gladiator to battle the goddess of Death without humor. The film does go over the top with some of the slapstick here or there but the joke frequency is so incredibly high that there are huge laughs too, certainly making it the funniest film of the year. The (new) characters work great, the visuals are stunning (3D is actually worth it), the action spectacular, the rare quiet moments are well written. Overall, it's a big, loud, colorful, larger than life blast. Maybe too weird and silly for some audiences, though.