Posted at 07:00 AM ET, 09/21/2012

‘The Master,’ ‘Trouble With the Curve’ and more new movies


Philip Seymour Hoffman and Joaquin Phoenix star in “The Master.” (PHIL BRAY)
In this week’s new movies, Philip Seymour Hoffman and Joaquin Phoenix give all-star performances in “The Master” and Clint Eastwood is up to his usual tricks in “Trouble With the Curve.” Here’s what the Post critics had to say:


The Master” (R) “Instead of using Lancaster and Freddie as a way to frame a larger idea, he uses epic tone and scale to frame what’s essentially the pathetic, unrequited love story between a megalomaniacal crank and a lecherous drunk.” — Ann Hornaday


Trouble With the Curve” (PG-13) “The title of ‘Trouble With the Curve’ refers to a baseball pitch, the kind that goes every which way until finally landing with a thump in the catcher’s mitt. It turns out the movie itself follows the same winding course, taking viewers on a fitfully engaging journey through the depredations of aging, the fragile bonds between adult children and their parents, and the beginnings of a sweet romantic relationship.” — Ann Hornaday


10 Years” (PG-13) “And it was with no small sense of surprise that I walked out when the film ended. The directorial debut of screenwriter Jamie Linden, ‘10 Years’ is a bracingly un-gimmicky, heartfelt and fresh take on the theme of growing up.” — Michael O’Sullivan


Dredd 3D” (R) “Good news, Judge Dredd fans. Pete Travis’s savage interpretation of John Wagner’s futuristic law enforcer adheres to the character’s grim graphic-novel roots and proves far superior to the corny misfire attempted by Sylvester Stallone back in 1995.” — Sean O’Connell


The House at the End of the Street” (PG-13) “’House At The End of the Street’ may not draw much of an audience during its initial run, but the movie’s preposterousness certifies it for future midnight screenings, where the story will get the jeering it deserves.” — Mark Jenkins


Liberal Arts” (Unrated) “While a few story lines intersect, the film feels thankfully less busy than Radnor’s first big-screen outing, ‘Happythankyoumoreplease.’ Still, this film possesses a similar triviality to that first effort. ‘Liberal Arts’ has its bright moments and it’s an enjoyable watch, but it probably won’t serve up outbursts of laughter or moments of epiphany.” — Stephanie Merry


Hello I Must Be Going” (R) “A charming if slight dramatic comedy about a summer fling between a 30-something divorcee and an unusually mature teenager, ‘Hello I Must Be Going’ succeeds almost entirely on the strength of Melanie Lynskey’s heartfelt and humorous performance in the lead role.” — Michael O’Sullivan


Keep the Lights On” (Unrated) “... a frustratingly episodic structure make what might have been a raw and inspiring portrait of commitment and boundaries a surprisingly uninvolving, arms-length enterprise. ‘Keep the Lights On’ lets go just when it should be holding you tighter.” — Ann Hornaday


End of Watch” (R) “Yes, [David] Ayer rubs our noses in some pretty grisly business, but only in service of a larger point about the necessity and honor of law enforcement... The best thing about ‘End of Watch’ is not the action, but the inaction.” — Michael O’Sullivan


Step Up to the Plate” (Unrated) “The documentary about father-and-son French chefs Michel and Sebastien Bras is characterized by a languorous pace, an air of Zen-like calm, and gorgeous shots of natural scenery and sunrises. Although some scenes are set in the kitchen of Michel and Sebastien’s top-Michelin-rated restaurant, it isn’t so much about food as it is about life.” — Michael O’Sullivan


You May Not Kiss the Bride” (PG-13) “‘Silly’ and ‘contrived’ are usually put-downs, but not for a screwball comedy such as ‘You May Not Kiss the Bride.’ Its lunacy is well staged and fast-paced. Too bad the movie’s premise is so lame that the nimbler moments can’t redeem it.” — Mark Jenkins


Unconditional” (PG-13) “Like most melodramas meant to uplift, ‘Unconditional’ is contrived and simplistic. Yet it doesn’t shout its religious message too loudly and is admirably forthright about racism and poverty.” — Mark Jenkins

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By  |  07:00 AM ET, 09/21/2012

Categories:  Movies

 
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