Amelia lost her husband while on way to hospital to deliver Samuel. She loves him but, seven years later, still hasn't got around to giving him a birthday party.
And so it ends. After five films, 13 years and at least 17 Academy awards, the tale of Middle Earth on the big screen has drawn to a close.
A RECENTLY departed father, an unstoppable mother, four middlingly successful children, their neighbourhood past flings and one week at the family home.
Ridley Scott's Exodus is as epic in scale as the director likes them, with horses, swords and men in togas.
There are a lot of risque jokes, plenty of abusive language and a plot that seems suspiciously like it was made up as the film went along.
We know how it's all going to end, and perhaps even how it's all going to start. Still it's one of those films which -- even if by commercial design, to milk the maximum out of a successful franchise -- takes a pause to give you an idea of what lies in the interrgenum.
Even if the story was a little better, there is something quite pathetic about wrinkled, greying men on the wrong side of 40 behaving like their selves from the right side of 20.
This is far from Fuqua's own Training Day and Washington's other impressive body of work, but The Equalizer is a good reminder of what we may be missing.
Boyhood could very well have been called Girlhood. But it may be no coincidence that Linklater went with the first name.
A rose by any other name may smell as sweet, but there is little to recommend this fairytale told countless times before.
'Nightcrawler' is no 'Taxi Driver', and Lou while a reflection of our full and empty times isn't really a product of it.
'Interstellar' has everything - an Earth-bound story of loss and longing, a space-bound story of endeavour and enterprise, and even an audience-bound message of preserving our planet.
Pitt is taking up from where he let off in Inglourious Basterds, without that film’s delicious touch of irony.
The beauty of Gone Girl was how it made it all seem plausible when suddenly it didn't.
By the time a government report came out confirming Webb's story, the film notes, it was lost in the excitement surrounding the President Clinton-Monica Lewinsky affair.
When reminded of his avarice, Hank notes, "Everyone wants an Atticus Finch till there's a dead prostitute in the tub." Deep? Still trying to figure out that one.
There was a time when Cameron Diaz would have breezed through this role. There was a time when Jason Segel could have winged it with her.
"GOD works in mysterious ways," says Chloe (Thomson) right at the beginning of Left Behind. Indeed. Otherwise what explains this dud of a film.
Even in comparison to The Conjuring -- with its fantastic cast of actors and its sub-text of research and years of pain -- Annabelle pales.
Children actually outgrow their mothers, no matter how much Narendra Modi may tell us otherwise.
One evening, she got out on the balcony, and there he stood. Alone, with something in his hand. Where had he come from?
Two Night Stand isn't as bad but, worse, it's boring and insipid, despite all the sex talk and sexual implications along the way.
The three Marines bring back not just post-traumatic stress disorder from that encounter.
What can you say about a film that so swears about its cerebralism as to discuss sickle cell anaemia at some length, and then picturises a disturbing sequence of a 14-year-old being admired by two sexual predators against an astonishingly and unironically sunny number?
The Maze Runner comes in soberingly dark tones, backed by solid acting.
The glamour associated with Gulf emigration is still very strong among the Kerala youngsters.
Clearly, you need to find something for John Cusack to do in this mess of a film apart from look groggy eyed?
Life of Crime is about four people who have all seen better days, living in a city that has seen better days. This sense of what could have been permeates this crime caper/character study.
Ignore the graphic gore and violence sheathed in style, and Sin City is a very conservative story -- about privileged people who are bad, and the unprivileged ones who are good.
Super-rich men who have had accidents in super-secret labs and now live in super-size castles in super-solitude are rarely up to any good.
And there you thought it was going all nice and simple with a brutal -- what else? -- Russian general-turned-politician with a rough taste -- what else? -- in the ladies.
Stallone is at it again, flexing his old muscles for yet another punch at any country that falls between Middle East and Central Asia
IT'S A sweet, sweet irony to have Katie Holmes star as a cold-as-ice mother and Director of Justice in Lois Lowry's version of an ordered, utopian society.
This is the level of destruction in Guardians of the Galaxy, spread across planets and species in this multifarious universe of ours.
On the first two aspects, Into The Storm succeeds, including in placing tornadoes 1, 2, 3...and on within the context of our times
Besson's first action film in a long time -- shot in his familiar hyperkinetic style -- is more fictional science than science fiction.