Author Archives: Roger Moore

On Friday at least, based on BO numbers and the average age of my hate mail, Clint Eastwood’s “Jersey Boys” brought in an audience of his peers (roughly), people Hollywood doesn’t make movies for because they would rather stay at … Continue reading →

I remember that Siskel & Ebert were the first guys to alert me to the wonders of the great basketball documentary “Hoop Dreams.” So it’s fitting that Steve James, who directed it, did the interviews and directed the Ebert biographical … Continue reading →

Octogenarian Clint Eastwood’s take on the Broadway musical about Frankie Valli and the Four Seasons, “Jersey Boys,” isn’t generating much love from America’s movie critics. With a no-star cast, songs fifty years past their pop expiration date (Don’t give me … Continue reading →

The French culinary comedy “Le Chef” is not to be confused with the delicious and more substantial Jon Favreau farce “Chef,” in theaters at the same time. “Le Chef” is a 2012 French film, coincidentally released just as Favreau’s comedy … Continue reading →

Sequels, as “22 Jump Street” joked, are always “the same, only worse.”So any pretense of insight into the battle of the sexes and any real connection to stand-up comic turned self-appointed relationships expert Steve Harvey’s book, “Act Like a Lady, … Continue reading →

Google the phrase “Abortion Comedy” and all the entries point you to one film — “Obvious Child.” “Finally, a romantic comedy about abortion,” raves the Los Angeles Times, among others. Then, there are the attacks — from the right wing … Continue reading →

The actual final figures for last weekend’s box office take showed that “22 Jump Street” did a little worse — $57 million as opposed to close to $60 — than earlier estimates had indicated. And “How to Train Your Dragon … Continue reading →

Whatever charms turned the musical “Jersey Boys” into a Tony winning Broadway hit are sorely missed in Clint Eastwood’s tone deaf corpse of a movie. Late to the game, blandly cast and scripted with every Italian American cliche in the … Continue reading →

The Paul Haggis drama “Third Person” is, like his Oscar-winning “Crash,” a series of interlocking stories. Each is fascinating , or at least interesting its own right. Each is cast with more than capable actors.Like “Crash,” the conceit that ties … Continue reading →

It helps, when you’re a movie star, to be what they call “Movie Star Handsome.”But don’t tell that to Guy Pearce. A leading man, oft-employed as a dashing cad (“The King’s Speech”) or chiseled villain (“Iron Man 3”), he still … Continue reading →