‘Mars Needs Moms’ ... and Paying Customers
By BROOKS BARNES; Compiled by RACHEL LEE HARRIS
“Mars Needs Moms” cost $150 million to make (excluding marketing) and managed to bring in only $6.8 million in North American ticket sales over the weekend.
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The actor Bradley Cooper will be a team player in “The Hangover Part II” and a leading man in “Limitless.”
The Times’s chief film critics debate whether movies are better or worse than ever, and invite you into the discussion.
“Mars Needs Moms” cost $150 million to make (excluding marketing) and managed to bring in only $6.8 million in North American ticket sales over the weekend.
Greg Mottola brought a personal touch to a tight budget in the making of the comedy “Paul.”
Whole Foods Market will sponsor environmentally minded movies in film centers like New York and Los Angeles, but also less movie-saturated places, like Kansas City, Mo., and Omaha.
A series at Anthology Film Archives that pairs remakes by the same directors vividly throws into relief the strategies and techniques of each filmmaker.
The four films in the DVD collection “Fernando Di Leo: The Italian Crime Collection” represent the mass-production side of 1970s Italian cinema.
The actor pleaded no contest to a misdemeanor charge of battering his former girlfriend under a deal that will let him avoid jail and deny liability for the incident in any civil litigation.
A new documentary, “Conan O’Brien Can’t Stop,” directed by Rodman Flender, shows another side of Mr. O’Brien that his co-workers call “Mean Conan.”
Cary Joji Fukunaga’s “Jane Eyre,” starring Mia Wasikowska, is a splendid example of how to tackle the daunting duty of turning a beloved work of classic literature into a movie.
Catherine Hardwicke’s “Red Riding Hood” is a goofily amusing screen fairy tale that includes bloodshed, but it’s generally tamer than its often-gruesome source.
“Battle: Los Angeles” follows Marines fending off an attack on the title city.
In Abbas Kiarostami’s “Certified Copy,” a couple (Juliette Binoche and William Shimell) drive through Tuscany arguing about art, representation and authenticity.
Véréna Paravel and J. P. Sniadecki directed “Foreign Parts,” a documentary about a polyglot section of Queens populated with chop shops and junkyards.
In Dana Adam Shapiro’s “Monogamy,” a seemingly happy engagement is ripped apart by a man’s voyeurism.
Eric Mendelsohn’s “3 Backyards” looks at the secrets and lies seething under the surface of a Long Island town.
As it turns out, no one is without sin in “Black Death,” a grungy, cynical little number from the British director Christopher Smith.
Any college presidents who didn’t ban fraternities after “Animal House” came out in 1978 might consider doing so if they happen to see “Brotherhood.”
Mars, once again, looks to Earth to supplement its female population because, it seems, the women who run Mars think Earth mothers are skilled at child rearing.
“Making the Boys” is a captivating documentary about the creation of, and reaction to, the breakthrough play “The Boys in the Band.”
“Elektra Luxx,” a mystifyingly zany comedy directed by Sebastian Gutierrez, is awash in subplots and porn stars.
A.O. Scott examines the themes of power and isolation in Orson Welles's 1941 film about a newspaper baron.
Neil Burger discusses a scene from his film "Limitless," starring Bradley Cooper as a writer whose life is changed by a mysterious drug.
In the dozens of versions for the big and small screens, artists have tried to make “Jane Eyre” their own.
A look at the journey of Mart Crowley’s play, “The Boys in the Band,” as well as its creative team.
Dana Adam Shapiro, the director and co-writer of "Monogamy," discusses the highs and lows of relationships.
Images of some of the offerings in the 2011 New York International Children’s Film Festival.
In this series, directors discuss ideas and techniques behind moments in their films.
This guide includes links to the original reviews from the archives of The New York Times.
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