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A corporate troubleshooter is sent to a remote, top-secret location, where she is to investigate and evaluate a terrifying accident. She learns the event was triggered by a seemingly innocent "human," who presents a mystery of both infinite promise and incalculable danger.
Any college presidents who didn’t ban fraternities after “Animal House” came out in 1978 might consider doing so if they happen to see “Brotherhood.”
2011-03-10 | NEIL GENZLINGER | Read the New York Times Review of Brotherhood
Clint Eastwood’s “Invictus,” a rousing true story of athletic triumph, is also that director’s latest exploration of revenge, the defining theme of his career.
2009-12-10 | A. O. SCOTT | Read the New York Times Review of Invictus
The emotional terrain "The Son" stakes out has been plowed over many times before. The death of a child commonly provides warrant either for sentimental psychobabble or (especially when the killer is near at hand and the bereaved parent is a father) for righteous violence. With their uncompromising, almost unbearable rigor and their ruthless refusal of melodrama, the brothers Luc and Jean-Pierre Dardenne mount an implicit critique of the therapeutic nostrums and the vigilante fantasies to which we have become accustomed, putting both the slick, pretentious pandering of "Road to Perdition" and the earnest hand-wringing of "In the Bedroom" to shame. Nothing about "The Son" is easy, and it has the balked, minimalist force (as well as the working-class setting) of one of Raymond Carver's better stories. To call it a masterpiece would be to insult its modesty. — A. O. Scott
2002-09-28 | A. O. Scott | Read the New York Times Review of The Son
Alternately hilarious, poignant and gory, this modern fairy tale that follows an aspiring nurse (Renee Zellweger), suffering from traumatic amnesia, to Los Angeles to win the love of her favorite soap-opera character is a contemporary ''Wizard of Oz.'' Hollywood is the Emerald City. Greg Kinnear is the self-centered actor who plays her heart's desire on television. Morgan Freeman and Chris Rock are a sadly introspective hit man and his hot-headed protege who follow her across the country with intention to do harm. This may be the deepest and funniest American comedy since David O. Russell's ''Flirting With Disaster.'' — Stephen Holden
2000-09-08 | Stephen Holden | Read the New York Times Review of Nurse Betty