In this week’s new movies, Michael O'Sullivan reviews “Shadow Dancer” starring Clive Owen and gives it three stars. Moviegoers see a new Superman in "Man of Steel," and "This is the End" is a movie for fans of Seth Rogen and James Franco, says Ann Hornaday.
★1/2 “Man of Steel” (PG-13) “Dispensing with such pesky bits as smooth transitions and logical chronology, Snyder pings and pongs viewers through “Man of Steel,” his blurry swish pans, jittery zooms and blobby close-ups an uneasy fit with 3-D that, as in most cases, is completely unnecessary.” – Ann Hornaday
★★ “This is the End” (R) “The degree to which viewers enjoy ‘This Is the End’ depends entirely on the degree to which they enjoy watching Rogen, Franco and their cohorts riff, bounce off and diss one another, often with the most unsavory sexual references at their disposal.” – Ann Hornaday
★★★ “Shadow Dancer” (R) “There’s an ominous sense of a ticking time bomb throughout the film, reminding you that someone’s going to get hurt. We just don’t know who or when.” – Michael O’Sullivan
★★1/2 “Pandora’s Promise” (Unrated) “There are many reasons to be scared of nuclear power, as even those who appear on camera advocating for it admit. ‘When it goes wrong,’ says Lynas, a British journalist and climate change activist who wrote a 2012 article titled 'In Defence of Nuclear Power,' ‘it goes really very wrong indeed.’ – Michael O’Sullivan
★★1/2 “Tiger Eyes” (PG-13) “Craving restraint from Blume feels so wrong. During a far less confessional time, she opened a dialogue about the uncomfortable subjects teens wanted to discuss but felt they couldn’t. And in some ways ‘Tiger Eyes’ echoes those sentiments, as Davey learns the freedom of uncorking her emotions.” – Stephanie Merry
★★ “The Painting” (Unrated) “The allegory of race and prejudice is pretty obvious, even for young audiences. – Michael O’Sullivan
★★ “Vehicle 19” “Alfred Hitchcock would have been tickled by the textbook wrong-man premise that drives Dewil’s constricted thriller. ‘Vehicle 19’ accepts the challenge of unraveling a tense plot without leaving its limited location: the front seat of Michael’s rental.” – Sean O'Connell