A no-fail winning combination in film would be great actors+great director+good story. You think ? Not necessarily. Hollywood dustbins are filled with disappointing films made according to this very combination. Still, Tim Burton bringing together Amy Adams and Christoph Waltz in a true tale involving a kitsch painter and a charming con artist, with the backdrop of fifties and sixties San Francisco, the lure is irresistible. And the rewards many.

Carnage tells the story of two couples who meet to discuss in as civilized and understanding a manner as possible the schoolyard spat of their sons that resulted in broken teeth and harsh words. One pair of parents comes to the other pair’s apartment to discuss the situation. After they come to an agreement about the wording of a document describing the incident, things start going downhill. For an excruciating hour and a half

Roman Polanski's latest effort is an adaptation of French dramatic auteur—and, for a short while, Nicolas Sarkozy confidante--Yasmine Reza's play “God of Carnage.” After being favorably received onstage, both Broadway and the West End mounted productions to mostly positive acclaim. It seems natural, then, that a film version—a ninety-minute set piece in which the characters barely leave the room

When small children lay their head on the pillow each […]

The marriage of circus and cinema took place in the very early days, fittingly enough as film, the new form of entertainment, sought to capitalize on one of the oldest ones. Some of the first memorable movies about the big top are Chaplin’s “The Circus” in 1928 and Tod Browning’s unforgettable “Freaks” in 1932. From then on, the list of circus movies is unending, about pathetic carnival sideshows in Fellini’s “La Strada” or extravaganzas like Cecil B. de Mille’s “Greatest Show on Earth,” (this last earning a reputation as worse Academy Award winner ever). There are the Marx Brothers, there’s “Trapeze,” we even have Elvis in “Roustabout,” for crying out loud. Some of these films are spectacular or inspired, many corny, hammy, sentimental, and likable. None of these qualifiers apply to “Water for Elephants” a strangely inert vehicle for cardboard cutout characters who sleepwalk through a tired and predictable story.