Recent content from Colin Covert
REVIEW: These 8-bit space invaders make for a surprising summer yarn. There’s a minimum of sexist “check out the hot fox” hubba-hubba, and zero Rob Schneider. What’s not to enjoy?
REVIEW: As a troubled slugger, a miscast Jake Gyllenhaal is impressively muscle-bound, but gives no knockout performance.
REVIEW: Shot on an iPhone and starring two trans women, “Tangerine” is all about pushing boundaries.
REVIEW: Amy Schumer is a runaway comedic force, but she's sometimes at risk of going off-track.
REVIEW: In “Ant-Man,” the stakes are surprisingly small for a summer Marvel movie.
REVIEW: The Sherlock we meet in “Mr. Holmes” is a man of growing frailties, gently portrayed by Ian McKellen.
Breakout role in a brutal festival hit started with love of “Titanic.”
Thanks to ideal locations and the “Snowbate” program, Woody Harrelson and company are filming in the Twin Cities.
Having conquered Mount Doom, mutants and Shakespeare, the beloved Ian McKellen portrays Sherlock Holmes.
REVIEW: “Minions” is deliberately silly — it makes Pixar’s intelligent “Inside Out” look like a TED Talk — but it is never shoddy.
Director talks about his mosaic approach to the singer’s life.
REVIEW: Asif Kapadia’s terrific documentary “Amy” offers Amy Winehouse's life story in rich, sometimes infuriating details far beyond any news obituary.
REVIEW: Actors Ben Kingsley and Ryan Reynolds and director Tarsem Singh join forces in “Self/less,” a science-fiction thriller that is generally clue/less, largely point/less and certainly couldn’t care/less.
There’s no question that bargain-basement indie success can launch a blockbuster filmmaking career. 3 indie directors who conquered Hollywood ... James Gunn The 2011 costumed…
As “Jurassic World” and its blockbuster breed stomp the box office, independent filmmakers keep the spirit of American moviemaking alive.
REVIEW: “The Overnight” is a smart women’s picture and a men’s movie, a frank neurotic drama and a laughably creepy bromance in equal measure.
REVIEW: This Iranian masterwork is full of Hitchcockian surprises.
REVIEW: While “Jurassic World” worked as a love letter to warmly remembered hits of the past, and “Mad Max: Fury Road” even better, the latest Terminator film feels like an essay of high school quality. It is mechanical in the worst way.
REVIEW: Written and directed by Maya Forbes, “Infinitely Polar Bear” is a thoughtful comedic drama that opens delightfully and grows steadily more appealing.
REVIEW: Run for cover, people: No one is safe from the “Ted” sequel's hilarious onslaught.
The Oscar-winning actress talks about peeling back the frigid layers of her latest film, “Aloft.”
A film series screening this week shows that the tradition of Czech art – spiked with ironic twists – is still alive.
A series, which Andersson calls his trilogy about being human will show at Walker Art Center in Minneapolis June 24-28.
“Me and Earl” director talks about his influences.
REVIEW: Cutting together various styles, the upstart comedy is fast, funny and a little out of control.
REVIEW: Pass the tissue: Pixar’s latest triumph pushes the emotional boundaries of animated kids’ movies.
Pixar visionary Pete Docter gets personal with new film “Inside Out.”
REVIEW: The Israeli film “The Farewell Party” explores end-of-life issues with wit and bittersweet humanism.
REVIEW: A fan's love feast, “Jurassic World” makes death more fun than ever.
REVIEW: Bao Nguyen’s documentary “Live From New York” revisits the long history of “Saturday Night Live” with scant objectivity, subjectivity or balanced critical analysis.
When it comes to comedy, the man behind “Spy” is redefining “women’s pictures.”
REVIEW: Melissa McCarthy doesn’t miss her mark in “Bridesmaids” director’s spy comedy.
The Beach Boys leader says the biopic is an accurate portrait of his turbulent life.
REVIEW: Feeling is the central focus of “When Marnie Was There,” a modest adaptation of Joan G. Robinson’s 1967 novel, as the house that Miyazaki built goes out quietly.
Once considered a rich-guy dilettante, Bill Pohlad has earned admiration as a film producer. With the Beach Boys biopic “Love & Mercy,” he’s getting the same reaction as a director.
REVIEW: In “Aloha,” the director offers a risky but rewarding mix of romance and comedy.
REVIEW: The explosive “100-Year-Old Man” opens a riotous new chapter in Swedish cinema.
REVIEW: Storytelling disappears into a wormhole in the time-traveling Disney fantasy “Tomorrrowland.”
REVIEW: The Bellas of “Pitch Perfect” hit the right note in a likable sequel that doesn’t produce glory, but it definitely supplies glee.
Boy meets girl meets needles in the bleak but terrific drama “Animals.”
The Bellas of “Pitch Perfect” hit the right note in a likable sequel that doesn't produce glory, but it definitely supplies glee.
The most gut-wrenching action film in years, “Mad Max: Fury Road” is also a dynamic work of art.
REVIEW: The most gut-wrenching action film in years, “Mad Max: Fury Road” — opens Thursday — is the rare B movie that is also a dynamic work of art.
REVIEW: “Saint Laurent” paints a touching and riveting retrospective of legendary fashion designer Yves Saint Laurent’s life and work.
REVIEW: Boy meets girl meets needles in the bleak but terrific drama “Animals.”
Albert Maysles shows Apfel’s ageless style in his last film.
Director George Miller sets aside Babe the pig and the penguins of “Happy Feet” to revisit a less cuddly but no-less-beloved character.
Somber Schwarzenegger deals with his zombie daughter.
REVIEW: "Maggie" is a hodgepodge of young-adult, living-dead and illness-of-the-week movies, yet it feels sincerely stitched together.
He’s played baddies galore, but Matthias Schoenaerts faced a new challenge in “Far From the Madding Crowd.”
REVIEW: How can you expand a cinematic universe of hit after hit? With another hit. From the very first word in the new Avengers blockbuster, “Age of Ultron” — opening Thursday night — you know you’re in for a Mach 5 roller-coaster ride.
Hollywood shamelessly marches forward into the past this season, bringing the likes of “Mad Max,” “Terminator” and the toothy stars of “Jurassic World” back onto the big screen.
This antiwar fable, set in the former Soviet Union, was an Oscar nominee.
REVIEW: This antiwar fable, set in the former Soviet Union, was an Oscar nominee.
Blockbuster sequel balances blistering action, human heart.
REVIEW: “Ex Machina” is a tense tale of artificial love so intelligently crafted and edgy that I adored it myself.
REVIEW: In “The Water Diviner,” he plays an Aussie farmer seeking his three sons lost on a Turkish battlefield.
Russell Crowe plays an Aussie farmer seeking his three sons lost on a Turkish battlefield.
Futuristic thriller asks heavy questions.
REVIEW: The wartime comedy “Queen and Country” is a delightfully whimsical portrait of 1952 England, a time and place of class discord that’s both uproarious and politically pointed.
Sunday’s Golden Globes gave a good Oscar-season launch for several leading players, and real-world issues surfaced again and again.
“Birdman” scores four Oscars, edging out “Boyhood” and “Budapest” for the top prize.
Go-to supervillain Oscar Isaac gazes into our dark future in the artificial intelligence thriller “Ex Machina.”
Delightfully whimsical sequel to “Hope and Glory” delivers king-size laughs.
REVIEW: There's more stink than kink to "Fifty Shade of Grey," the much-ballyhooed, failed attempt at steamy erotica, film reviewer Colin Covert says.
MSPIFF opens with a Swedish hit but spotlights plenty of Minnesota talent.
REVIEW: The title sounds like a drab “Marigold Hotel” snoozer, but this comedy is a start-to-finish rocket-speed riot.
REVIEW: The bestselling author's latest love story, “The Longest Ride,” is spoon-fed entertainment, but it tastes pretty good.
The bestselling author Nicholas Sparks' latest love story is spoon-fed entertainment that goes down easy.
The actress is doubly adept at comedy and heavy drama. Just don’t ask her to dance.
REVIEW: "Furious 7," the follow-up to the sequel to the sequel to the sequel to the sequel to the sequel of the launch of the high-octane adventure yarn, is dumb, but it’s also enjoyable.
REVIEW: Noah Baumbach’s brisk new comedy “While We’re Young” is very funny and sublimely morbid about topics invisible to modern movie humor.
REVIEW: "Woman in Gold" copies artist Gustav Klimt’s dazzling fusion of classic and art nouveau techniques, but stops short of creating a masterwork.
The star and directors of “Kumiko” talk about their snowbound Minnesota shoot.
REVIEW: With a stale story, blobby script, hodgepodge cast and needless 3-D design, "Home" plays more like an overstretched short subject than a feature.