Normalcy is an undervalued commodity in Hollywood, which leaves true drama – the sort we experience every day – to independent filmmakers such as Nicole Holofcener (Lovely & Amazing). Holofcener once again explores the minor triumphs and tragedies of average women’s lives, and she’s only further honed her talent for seeing the personal truths that

As unintentionally silly and heavy-handed as it often is, this feminist landmark ó based on Ira Levin’s novel ó still works because of the brilliance of its central, satirical metaphor: the housewife as automaton. Katharine Ross plays young mother and aspiring photographer Joanna Eberhart, who reluctantly moves to the suburban enclave of Stepford, where the

Acting chameleon Edward Norton finally finds a color he can’t match, and it’s a surprisingly conventional hue: that of a tragic romantic lead. Norton plays a magician in 1900 Vienna who discovers his childhood love (Jessica Biel) is unhappily engaged to a sinister crown prince (Rufus Sewell). Norton should set the tone for this moody,

9 Songs flits back and forth between concert footage of contemporary rock bands and explicit scenes of actors Kieran O’Brien and Margo Stilley – as a fictional couple named Matt and Lisa – having actual sex. It doesn’t take long for both elements to become incredibly boring. You might think some sort of arty, intellectual

Those who were surprised by the lightness of Steven Spielberg’s Catch Me If You Can must have forgotten this, his first feature. It’s a serious story – an ex-con busts her husband out of jail to reclaim their baby from the foster system – yet it has a looseness and wit Spielberg rarely shows. That’s

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