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I’ve always been a fan of actor Paul Dano. He gave a memorable performance as a son who would not speak in "Little Miss Sunshine," and he provoked Oscar-winner Daniel Day Lewis

Writer/director Paul Weitz has explored the bond between father-and-son before in movies like "About a Boy" and "In Good Company." With "Being Flynn," Weitz is back to take a look at this unbreakable bond even if the relationship is a bit dysfunctional.

Though it’s always a bad idea to review a director’s intentions at the expense of the actual results, there’s something about Paul Weitz’s movies that makes you want to cut him a little extra slack.

The title of David Wain's latest directorial effort suggests more direction than its urbanite couple George (Paul Rudd) and Linda (Jennifer Aniston) really have.

What does it take to revive a passion for one’s work, years on, whether said vocation is saving the world or churning out sequels in a blockbuster franchise? How does one reclaim human contact in today’s isolating, gadget-dependent world?

Who are these beautiful, sharply dressed, slightly orange people gliding so effortlessly through a glittery, postcard-worthy version of New York in New Year’s Eve? They’re stars, of course, a galaxy of stars of varying luminescence.

Margin Call isn’t the first film to peer into the moneyed, aspirationally heartless world of finance, and it’s not going to be the last, but it’s got a fair shot at being the one with the most masterful timing. J.C. Chandor’s feature debut aims to offers insight into the mindset of bankers poised to plunge the country into the 2008

George Clooney’s The Ides of March is an actors’ movie, a picture that gives performers some provocative things to do without necessarily providing a great story for them to hang onto. It’s also a movie made for grown-ups, and Lord knows there are few enough of those around today.

Jesse Peretz’s Our Idiot Brother is a feel-good movie for people who resist feel-good movies, a flawed vessel that nonetheless stays afloat by clinging to its buoyant star, Paul Rudd. Its problems are numerous and apparent: The picture meanders listlessly, and in the end it’s really more of a character sketch than a comedy

"Limitless" took the top spot at the box-office this past weekend. The Relativity Media sci-fi thriller starring Bradley Cooper debuted at No. 1 with $19 million. ("Limitless" review)