Review: `Hairspray' is innocent fun
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The world probably didn't need another film version of John Waters' 1988 romp "Hairspray" any more than it needed a Broadway musical version of it. The whole cycle reeks of that movie-of-a-stage-production-of-a-movie debacle that has tainted the legacy of "The Producers."
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The whimsical 'Lars and the Real Girl' presents a picture of life as it ought to be, rather than the way it is.
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Buoyant, colorful acting enlivens this moderately contrived but engaging comedy from Marie Jones, the author of âStones in His Pockets.â
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Do watch the movie for Grant and his hillarious antics.
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One film that caught the fancy of just about everyone at the recently
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âMusic and Lyricsâ aspires to nothing more than the competent dispensing of mild amusement and easy emotion.
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Featuring the unlikely trio of John Travolta as a woman, Michelle Pfeiffer as a racist and a chubby singer as its star, "Hairspray" debuts in movie theaters on Friday aiming to be a box office hit -- again.
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Brad SilberlingÂs new movie has nothing to prove, and not all that much to say, but its modesty and good humor make it hard to resist.
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NBC's "Hawaii" is not a great cop show. But it has well-choreographed action and an amusingly campy feel.
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Sudeep's second directorial venture has pleasing visuals, melodious music and first-rate performances.
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OK, not exactly. But with Jude Law seemingly reprising the womanizing bounder he plays in the fast-fading âAlfieâ and with Julia Roberts emanating icicles as a chillier-than-usual version of her patented
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Neither ambitious enough to take seriously nor sleazy enough to enjoy, ÂThe QuietÂ flirts with the trappings of exploitation cinema without going all the way.
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Steven Soderbergh's latest film is the ultimate guilty pleasure.
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From the first time she saw "Hairspray" on Broadway, Nikki Blonsky was dying to play its plump, sparkling teen heroine, Tracy Turnblad.
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The 2001 remake of the 1960 Rat Pack heist comedy was a seamless adult-contemporary entertainment: relaxed, funny, star-studded, tightly plotted, subtext-free, surprisingly chaste and totally forgettable.
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With its wispy story and wonder-cabinet production design, Wes Anderson's new movie should be exasperating, but instead it is mostly delightful.
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Unlike the 1966 British film about a carefree womanizer on which it is based, the new "Alfie" doesn't chase social significance Â it just wants us to have a good time.