Sam Eifling



“Dumb and Dumber To”

“Dumb and Dumber To”

“Dumb and Dumber To,” the sequel no one wanted for the past 20 years, is pretty asinine even by the standards of a movie with a misspelling and the word “dumb” twice in its title. It makes children who sound too young to be at a PG-13 movie laugh aloud in dark theaters, so it read more

“Interstellar”

“Interstellar”

Few working directors are better than Christopher Nolan at marrying the popcorn pic with a mind-warping big concept. “Memento” mashed a crime noir into a memory puzzle that put time on a yo-yo. “Inception” folded the heist movie into a stack of dreamscapes, embedding Leonardo DiCaprio in a piece of conceptual pop art. Three Batman read more

“Nightcrawler”

“Nightcrawler”

When we meet Lou Bloom, the protagonist of “Nightcrawler,” we know him immediately to be a man of persistent, easy lies. He is a thief, and a violent one, who nonetheless has some inkling of going straight — or, at least, applying his considerable persistence and smarts to a slightly more above-board operation than fencing read more

“John Wick”

“John Wick”

Haters who rip Keanu Reeves for his wooden acting overlook the concomitant brilliance when he is cast as a tree. The title role in “John Wick” is uncommonly suited to his Botoxian stoicism. Wick, a retired gangland assassin, was so skilled at his job that when he told his then-boss, a powerful mobster name of read more

“St. Vincent”

“St. Vincent”

Bill Murray plays Vincent, the titular lout in the new comedy “St. Vincent,” as a throwback sort of aging American white male. Murray was born in 1950, so Vincent is approaching what ought to be retirement age — and yet he seems to work less than he does fritter his few greenbacks at the race read more

“The Judge”

“The Judge”

“The Judge,” an inoffensive and generally likeable drama that odd-couples Robert Downey Jr. with Robert Duvall, runs like a two-plus-hour chardonnay. Setting aside a few quasi-coarse moments (even a family-friendly film needs to establish street cred on its own terms), “The Judge” plays mostly by the numbers that American audiences have decided they like in read more

“Gone Girl”

“Gone Girl”

On his fifth anniversary, Nick is miserable. He wanders down to the small-town Missouri bar he and his twin sister keep up and knocks back a bourbon while languidly twisting the wheel on the game of Life, wondering how he managed to botch a marriage to the girl of his dreams. Then he returns home read more

“The Equalizer”

“The Equalizer”

Though it doesn’t immediately feel like one, “The Equalizer” is a Denzel Washington film by default. He’s by far the biggest star of note in the action thriller, with only his face on the poster. He’s in virtually every scene that does not feature Russian mobsters plotting to find and kill him. And, relatively rare read more

“Tusk”

“Tusk”

The only reason “Tusk” didn’t go straight to video as a schlocky B-flick with a built-in cult following is the same reason it exists in the first place: Kevin Smith. The director has been making movies on the cheap for 20 years, since he shot “Clerks” for less than 30 grand and launched a mini-empire read more

“The Drop”

“The Drop”

In “The Drop,” director Michael R. Roskam follows the old “Jaws” adage to hide the shark as long as possible. Guns permeate this crime thriller set largely in a Brooklyn “drop bar,” a collection point for enough small-time gambling and prostitution cash that it becomes a big-time operation for its gangster owners. But count the read more