(Photo by Warner Bros. / courtesy Everett Collection)
All Margot Robbie Movies Ranked by Tomatometer
It only took two years after an eyebrow-raising entrance in The Wolf of Wall Street for Margot Robbie to become a big-enough known entity to cameo in movies as herself, like she did in 2015’s The Big Short. And by 2018, she was an Oscar-nominated actress thanks to I, Tonya. She’ll also be a fixture at this year’s ceremony: Robbie was nominated for Best Supporting Actress for Bombshell, while her portrayal as Sharon Tate was one of the sentimental cruxes of Once Upon a Time in Hollywood, which is up for Best Picture.
In-between all of this, Robbie also became one of the shining stars of the DC Extended Universe as Harley Quinn, stealing the show in Suicide Squad, with an upgrade to lead status in Birds of Prey. And she was again one of the best parts of The Suicide Squad. Now, we’re ranking all Margot Robbie movies by Tomatometer!
Critics Consensus:Suicide Squad boasts a talented cast and a little more humor than previous DCEU efforts, but they aren't enough to save the disappointing end result from a muddled plot, thinly written characters, and choppy directing.
Synopsis: Figuring they're all expendable, a U.S. intelligence officer decides to assemble a team of dangerous, incarcerated supervillains for a top-secret... [More]
Critics Consensus:Goodbye Christopher Robin struggles to balance wartime tension and childlike wonder, but offers valuable insight into the darkness shadowing the creation of a classic children's tale.
Synopsis: After leaving London for the English countryside, writer A.A. Milne starts to spin fanciful yarns about his son's growing collection... [More]
Critics Consensus: Led by strong work from Margot Robbie and Alison Janney, I, Tonya finds the humor in its real-life story without losing sight of its more tragic -- and emotionally resonant -- elements.
Synopsis: In 1991, talented figure skater Tonya Harding becomes the first American woman to complete a triple axel during a competition.... [More]
Critics Consensus: Enlivened by writer-director James Gunn's singularly skewed vision, The Suicide Squad marks a funny, fast-paced rebound that plays to the source material's violent, anarchic strengths.
Synopsis: Welcome to hell--a.k.a. Belle Reve, the prison with the highest mortality rate in the US of A. Where the worst... [More]
We know people are burning through their Netflix queues at a cracking pace right now, bingeing the buzziest movies and series as they drop and finally getting to those things you’ve been putting on the backburner for months. To help out – and calm the stress that you could run out of things to watch (ah!) – the Rotten Tomatoes team trawled through the streaming service’s movie offerings with one mission: to find some not-so-obvious hidden gems to help keep your watchlist topped up.
How did we define “hidden gems”? A little broadly, we’ll admit. The collection below is made up of movies with impressive Tomatometer scores that have gone criminally under-seen (Slow West, I Don’t Feel At Home In This World Anymore., Under the Shadow); movies that made a splash when they debuted but which you may have forgotten since (1922, My Life As A Zucchini, Obvious Child); under-appreciated gems – according to the RT staff (Can’t Hardly Wait, The Foreigner); and some bigger movies you may be surprised to see are available on Netflix. And we threw in a few surprise nostalgic favorites, too. Yes, even some Rotten ones.
Critics Consensus: MMA star and first-time actress Gina Carano displays ample action-movie chops in Haywire, a fast-paced thriller with a top-notch cast and outstanding direction from Steven Soderbergh.
Synopsis: Mallory Kane (Gina Carano) is a highly trained operative for a government security contractor. Her missions take her to the... [More]
Critics Consensus:The Autopsy of Jane Doe subverts the gruesome expectations triggered by its title to deliver a smart, suggestively creepy thriller that bolsters director André Ovredal's growing reputation.
Synopsis: When father and son coroners investigate the death of a beautiful "Jane Doe," they find increasingly bizarre clues.... [More]
Critics Consensus:The Girl with All the Gifts grapples with thought-provoking questions without skimping on the scares -- and finds a few fresh wrinkles in the well-worn zombie horror genre along the way.
Synopsis: In the future, a strange fungus has changed nearly everyone into a thoughtless, flesh-eating monster. When a scientist and a... [More]
Critics Consensus: Brilliantly performed and smartly unconventional, The End of the Tour pays fitting tribute to a singular talent while offering profoundly poignant observations on the human condition.
Synopsis: Writer and journalist David Lipsky (Jesse Eisenberg) interviews author David Foster Wallace (Jason Segel) for Rolling Stone magazine.... [More]
(Photo by Mary Clavering/Young Hollywood/Getty Images)
Ross Lynch is going from Disney to Dahmer. He’s playing a teenaged Jeffrey in My Friend Dahmer, a prequel to the madness that would drive Dahmer to kill (and rape and consume) 17 people over 15 years. Heady stuff for Lynch, who wasn’t born yet when Dahmer was killed in prison in 1994 while serving multiple life imprisonment sentences. And the role is perhaps even shocking to his fans, who’ve been following his career through Disney Channel’s Austin & Ally, and as 20% of R5, the rock band he fronts with his four siblings.
“I like the idea of shocking people and playing something that was so far from what people were used to seeing me in,” Lynch explains on making this his leading actor debut, “Even when I was on Disney Channel, I had that in the back of my head, and I put it out in the universe that I wanted to do an indie film next. I wanted to do something that was darker and with just a little bit more … something with more substance. A lot of this film is what is not being said.”
As My Friend Dahmer opens in limited release this Friday, we spoke with Lynch to get his Five Favorite Films, and followed up with more on expanding a career into film after conquering radio and TV.
It was made in 1968, and it’s kind of old school. I actually ended up watching it for school, but I was home schooled, so I watched it in my house. For whatever reason, when I saw that film, dude, I loved it. I [was] addicted to it. Kind of ended up falling in love with Olivia Hussey. I became a fan girl, I’m not even kidding you. I thought about it nonstop for a long, long time.
My second favorite film right now… This is also a film that hit me pretty hard. The Theory of Everything. I like what it says about life. It made me appreciative of life, about everything. Ultimately, I think those are some of my favorite movies, where you leave the theater, you sit up and you want to be a better person, or you want to enjoy life more.
You can’t really go wrong with Boogie Nights. [I first saw this] maybe 16, 17, maybe a little younger. I have a lot of older siblings, so I saw really inappropriate stuff when I was pretty young.
I remember the impact Boogie Nights made when it came out. It’s still carrying on.
Yeah, especially with young filmmakers. That film is very, very often referenced. A lot of it because of the technical aspects, along with, obviously, the acting. The whole vibe of it. ’70s Hollywood is epic.
A recent film. But man, I had to pick a Quentin Tarantino film. I’m a really big fan. He’s super unique. I appreciate the people who have a thing that’s completely different than whatever anyone else is doing.
Was it a fight to pick the Tarantino movie you wanted on your list?
I definitely thought about Pulp Fiction for a second. You know what I think it was? I was a little too young to really grasp everything about Pulp Fiction on the first watch. When I saw Django Unchained, I was really immersed in the world and everything that was happening. Based on my personal experience with the film, it’s Django Unchained. But, as far as the better movie, you probably should say Pulp Fiction.
Alex Vo for Rotten Tomatoes: Is there anyone you’re looking at as you make these big steps in your career?
Ross Lynch: I look up to people like Jamie Foxx, the people who do everything. He’s got an Oscar, he’s not an average actor, he’s always playing these awesome roles, like Django Unchained. Or Baby Driver, where he’s this random gangster dude.
Ultimately, I just want to be an artist, really. I want to do films that are interesting and that people probably wouldn’t expect me to do, like My Friend Dahmer. I also want to make music that is maybe a little further left field than the norm of pop radio. Obviously, I still have ambition in mind. I still want to get on the top 40, and all those things like that. I’m always wanting to just be creative.
I also really look up to people like Steve Jobs and Elon Musk, the innovators of today that push the envelope. Maybe in the future, I’ll do something like that, too.
With a half-dozen movie franchises and a network TV series, the Avengers ecosystem has been a commercial juggernaught for Marvel, though one could be forgiven for wondering if the brand is a bit over-extended. Thankfully, critics say Thor: The Dark World is a rock-solid entry in Marvel’s cinematic canon, with enough muscular thrills and goofy humor to compensate for its occasionally confusing plot. This time out, Thor (Chris Hemsworth) must stop an ancient race called the Dark Elves from plunging the cosmos into darkness. Things get personal when one of the elves inhabits the body of Thor’s sweetheart Jane Foster (Natalie Portman), and he’s forced to team up with his untrustworthy brother Loki (Tom Hiddleston) in order to save the universe. The pundits say Thor: The Dark World suffers from a bit too much exposition, but its action sequences are suitably stirring and Tom Hiddleston’s puckish performance nearly steals the show. (Watch our video interviews with Hemsworth, Hiddleston, Portman, and more, and click through our gallery of Marvel movie heroes.)
Just because a romantic comedy is saccharine, schmaltzy, and predictable doesn’t mean it won’t turn audiences’ hearts to mush. Critics say that’s the case with About Time, an overly sentimental but often sweet and poignant charmer from Love Actually director Richard Curtis. Tim (Domhnall Gleeson) is a single guy who learns from his father that he has the ability to travel back in time to change his fate. However, when he utilizes his strange gift to woo Mary (Rachel McAdams), he discovers that other aspects of his life don’t quite line up the way he’d like them to. The pundits say that About Time is sometimes sappy and illogical, but Gleeson and McAdams make for an appealing onscreen couple. (Check out this week’s Total Recall, in which we count down McAdams’ best-reviewed movies.)
After winning raves in limited release, 12 Years a Slave goes wide this week, and critics say it’s arguably the most powerful cinematic depiction of slavery ever captured on film. Chiwetel Ejiofor stars as Solomon Northup, a free man who’s kidnapped and sold into slavery; he quickly learns that in order to survive, he must suppress his identity and keep his head down while periodically enduring a series of painful and dehumanizing punishments. The pundits say that the Certified Fresh12 Years a Slave is a painful but important work, thanks to Steve McQueen‘s brilliant direction and an Oscar-worthy performance from Ejiofor.
22 Bullets, starring Jean Reno in an action thriller about a retired gangster who seeks revenge after being shot by his former colleagues, is at 42 percent.
Ass Backwards, a comedy about a pair of hapless childhood friends who travel to their hometown to enter a beauty pageant they lost years before, is at 27 percent.
Paris Countdown, a French action thriller about a pair of nightclub owners in the crosshairs of a dangerous criminal, is at zero percent.
It’s hard to build any kind of consensus in this crazy modern world, but if there’s one thing pretty much all of us can agree on, it’s that Rachel McAdams is adorable. Her winsome charm, already put to excellent use in a series of hits that includes The Notebook and Midnight in Paris, returns to the big screen this weekend in the date movie of the season: Richard Curtis’ About Time, a romantic comedy with more on its mind than your average meet-cute. In honor of McAdams’ latest outing, we decided to take a look back at some of the brighter critical highlights from her filmography — which contains a lot more variety than you might expect. It’s time for Total Recall!
Maligned by critics and boyfriends, 2004’s The Notebook positioned Rachel McAdams and Ryan Gosling for romantic weepie superstardom, placing them opposite one another in a Nick Cassavetes-directed adaptation of the Nicholas Sparks bestseller about star-crossed lovers whose beautifully filmed affair is torn asunder by her controlling parents (and World War II). It’s the kind of stuff that has served as grist for countless Lifetime movies, and not a few scribes rolled their eyes at the swelling music and sweeping cinematography — but for others, The Notebook represented a sensitively assembled, solidly acted paean to a style of filmmaking long out of vogue. Opined an appreciative Rex Reed for the New York Observer, “How rare to see a film that says there is still a value system out there, that being thoughtful and caring is not uncool.”
McAdams took a stab at a Hitchcock-style psychological thriller with 2008’s Married Life, which found director Ira Sachs co-adapting (with Oren Moverman) John Bingham’s 1953 novel Five Roundabouts to Heaven. Starring Chris Cooper as a middle-aged businessman who embarks on an affair with a pretty young war widow (McAdams), this WWII-set picture takes a dark turn when Cooper’s character decides he wants to end his marriage, but can’t bear to hurt his wife — so he decides to poison her instead, and makes the crucial mistake of telling his friend (Pierce Brosnan), whose own libido ends up putting everyone at risk. “The roundelay structure and Hitchcockian nods could have easily given way to a sardonic puppet theater,” admitted CinePassion’s Fernando F. Croce, “but Sachs and Moverman care too much about their characters to turn them into pawns.”
Remember the cheerfully old-fashioned, beautifully shot workplace comedies of the 1980s? So does Aline Brosh McKenna. The Devil Wears Prada screenwriter scripted this comfortingly old-school entry in the genre, helmed by Notting Hill director Roger Michell and featuring a cast of pleasantly familiar faces. Starring McAdams as the button-cute executive producer of a flailing national morning show, Harrison Ford as the curmudgeonly new co-host, and Diane Keaton as the show’s put-upon longtime anchor, Morning Glory tapped into a neglected filmmaking vein once regularly drawn upon by everyone from James L. Brooks to Mike Nichols. Unfortunately, in spite of its impressive pedigree, Glory failed to find favor with many critics, and its middling grosses seemed to suggest that modern moviegoers were no longer all that interested in the travails of a heel-kicking upper middle-class gal and her lovably dysfunctional co-workers. Still, it found its defenders, among them Dave White of Movies.com, who wrote, “Ford is a snarling cartoon version of his grim political thriller self played for laughs. And McAdams is no Mary Tyler Moore, but she’s just this side of being that appealing.”
While it didn’t offer as much screen time as some of her other projects, McAdams’ return to the role of Irene Adler for the Sherlock Holmes sequel, A Game of Shadows, added another top-grossing feature to her résumé — and her rumored million-dollar payday further cemented her status as one of the more in-demand young actors in Hollywood. And although Shadows suffered from the same diminishing critical returns as many sequels, its blend of dark mystery and thrilling action proved sufficiently potent for critics like Joe Neumaier of the New York Daily News, who argued, “Ritchie’s franchise — 7% classic formula, 93% adrenaline — is smart in a showoffy way that flatters its star as well as its audience.”
Over 100 years after he made his debut on the printed page, Sir Arthur Conan Doyle’s famous detective got the CGI-assisted blockbuster treatment in the aptly titled Sherlock Holmes, starring Robert Downey, Jr. as the intrepid sleuth and Jude Law as his faithful sidekick Watson. Joined by Rachel McAdams as the mysterious Irene Adler and assisted by Guy Ritchie’s action-heavy direction, Holmes made solving 19th-century mysteries cool again — and entertained critics such as Bill Goodykoontz of the Arizona Republic, who wrote, “Playing literature’s greatest detective as a sort of self-loathing action hero, Downey has an absolute blast. And thanks to his performance in Sherlock Holmes, so do we.”
R-rated comedies enjoyed a box office renaissance after the turn of the century — including Wedding Crashers, which put stars Vince Vaughn and Owen Wilson square in their respective wheelhouses with a storyline about a pair of lecherous buddies whose fondness for shacking up with bridesmaids hits a snag when they meet a pair of sisters (Isla Fisher and McAdams) whose formidable charms prompt some painful re-evaluation. Though some critics had problems with Crashers‘ uneven tone — and the scads of gratuitous flesh on display in the movie’s opening montage — most found it too much fun to resist. “The likes of the sneakily subversive Wilson and Vaughn deserve better,” wrote MaryAnn Johnson of Flick Filosopher, “but this is darn close to a perfect showcase for what they can do, and how much better they do it together.”
Red Eye put director Wes Craven back behind the cameras following a five-year break — and delivered a taut, claustrophobic thriller about a hotel manager (Rachel McAdams) who finds herself sitting next to a terrorist (Cillian Murphy) on an overnight flight. The tight-focused setup of Carl Ellsworth’s script eventually gives way to an overblown final act involving an assassination attempt (and an underwater missile), but most critics didn’t mind; as Roger Ebert wrote, “After a summer of crashes, bangs, endless chase scenes and special effects that belittle the actors standing in front of them, what a pleasure to see characters in a thriller doing what people like themselves possibly could do.”
Romantic dramas and teen comedies don’t get a lot of critical love, but McAdams struck gold with entries from both genres in 2004, smooching a sun-dappled Ryan Gosling in The Notebook and piling on the lip gloss to play the strikingly pretty leader of a perfectly vapid high school clique in Mean Girls. Lindsay Lohan got the lion’s share of the attention for her solid work as Cady Heron, the bookish recent transplant who struggles to fit in with the popular crowd at her new school, and Tina Fey earned plenty of praise for her funny, smartly written script. But Mean Girls wouldn’t be Mean Girls without its mean girls, and that McAdams-led trio (rounded out by Amanda Seyfried and Lacey Chabert) was a big part of what made the movie for critics like the Globe and Mail’s Liam Lacey, who called McAdams “deliciously evil” in the role.
Times are tough for reporters in the real world, but in Hollywood, they’re still good for the occasional hard-bitten thriller. Case in point: Kevin Macdonald’s State of Play, which adapts the BBC miniseries about a reporter (Russell Crowe) and his young mentee (McAdams) investigating the death of a Capitol Hill staffer (Maria Thayer) who had been involved in an extramarital affair with a Congressman (Ben Affleck). Loaded with enough old-school intrigue to provoke a slew of All the President’s Men comparisons, State of Play is the kind of thinking man’s thriller that’s all too rare these days (and with an $87 million gross against its $60 million budget, it’s painfully easy to see why studios have lost interest). Even if audiences weren’t in the mood for a political murder mystery, most critics were taken with Play, including Christopher Tookey of the Daily Mail, who wrote, “Even if you don’t normally bother with movies, cheer yourself up by seeing this. There hasn’t been a more engrossing or intelligent political thriller in the past three decades.”
Woody Allen endured some relatively bumpy years during the 1990s and early aughts, but things turned around for 2011’s Midnight in Paris, a late-period smash that brought Allen some of the warmest reviews (and the highest grosses) of his career while telling the the fantasy-infused comedic tale of an ennui-addled screenwriter (Owen Wilson) whose rocky relationship with his dismissive fiancee (McAdams) sends him out for a melancholic walk on the streets of Paris, where he ends up taking much more of a journey than he bargained for. “Woody Allen seemed to have lost his fizz as a filmmaker of late,” observed Jason Best for Movie Talk, “and then he uncorked the sparkling Midnight in Paris, a comic fantasy with all the effervescence of vintage champagne.”
In case you were wondering, here are McAdams’ top 10 movies according RT users’ scores:
A week before the Hemsworth brothers begin their double feature of November tentpoles, the sci-fi entry Ender’s Game opened atop the North American box office and was joined in the top five by fellow new releases Last Vegas and Free Birds, all of which posted moderate or respectable launches.
Debuting to an estimated $28M, the effects-driven futuristic action pic Ender’s Game landed in the number one spot with a performance that was reasonably good, but not especially impressive for an expensive production. Based on the best-selling novel, the PG-13 film averaged $8,218 from 3,407 locations including higher-priced IMAX and other large-format screens. Reviews were mixed for the Lionsgate release and the CinemaScore grade was a middling B+. Tapping into a built-in audience, not having any standout buzz, and facing the arrival of Thor: The Dark World next weekend, Game is not likely to last very long and should finish up with a front-loaded theatrical run.
Bad Grandpa enjoyed the best second weekend hold ever for a Jackass film dipping only 36% to an estimated $20.5M giving Paramount a healthy $62.1M in ten days. The low-cost $15M comedy should end its domestic run with about $110M making for yet another profitable installment for the eleven-year-old franchise. Fan feedback has been excellent.
The old timers comedy Last Vegas opened in third pace with an estimated $16.5M from 3,065 theaters for a respectable $5,390 average. Starring Michael Douglas, Robert De Niro, Morgan Freeman, and Kevin Kline, the PG-13 film about a group of old friends reuniting for a bachelor party in Sin City played to a mature crowd as expected. Critics were not too impressed, but moviegoers came out for the CBS Films release for the starpower and premise.
Audience data showed that 53% were female and an understandably high 83% were 25 and older. With a promising A- CinemaScore grade, a much older target audience, and no major direct competition coming, Vegas should be able to hold up well throughout the November weeks ahead and reach a domestic gross that doubles the $28M production cost.
2013 has been a tough year for animated films – especially those that are not on the very top tier – and Free Birds was the latest to lack excitement with family audiences. The PG-rated turkey flick debuted to an estimated $16.2M from 3,736 theaters for a mild $4,336 average. Relativity had relatively clear sailing for its launch as the only other kidpic out there – Cloudy with a Chance of Meatballs 2 – was in its sixth weekend. But the target audience was not excited to spend top dollar for this toon and reviews were lousy.
No animated films open until Thanksgiving so the distributor is hoping that lack of competition will help in the days and weeks ahead. The A- CinemaScore indicates that customers were fairly pleased with their purchase. Even bigger players like DreamWorks, Fox, and Sony have struggled to make toons work this year.
Space juggernaut Gravity fell back to fifth place but still posted a solid frame grossing an estimated $13.1M making for the best fifth weekend gross for any film since The Avengers. Warner Bros. has banked a stunning $219.2M to date making it the highest-grossing non-franchise film of 2013, and number eight overall. The Bullock blockbuster also smashed the $200M international and $400M global marks this weekend. The $27.1M overseas weekend gross pushed the offshore cume to $207.5M with worldwide climbing up to $426.7M.
Captain Phillips, another star-driven survival thriller getting Oscar buzz, followed with an estimated $8.5M. Down only 27%, the Tom Hanks film stands at $82.6M to date.
Fox Searchlight gave another expansion to its awards hopeful 12 Years A Slave which widened from 123 to 410 theaters and more than doubled its weekend gross in the process. The acclaimed period drama took in an estimated $4.6M and posted another promising average with $11,220 putting it in good shape for the road ahead. Many prestige films stumble when expanding to this many markets but Slave is remaining a relevant and much-talked-about film bringing in new audiences thanks in part to stellar reviews. Cume is $8.8M and next weekend it expands again into roughly 1,000 locations.
Three C’s rounded out the top ten. Toon sequel Cloudy with a Chance of Meatballs 2 dropped 33% to an estimated $4.2M for a $106.2M cume for Sony. Horror flick Carrie grossed an estimated $3.4M, down 43%, giving Sony $32M to date. Fox’s crime drama The Counselor tumbled 59% in its sophomore round to an estimated $3.3M putting the total at just $13.6M.
Rachel McAdams saw lackluster results for her latest romance About Time which was given a limited release in only 175 locations this weekend by Universal. The R-rated time travel love story bowed to an estimated $1.1M for a mild average of $6,046 which does not bode well for next weekend’s nationwide expansion. Reviews have been mixed.
Generating plenty of must-see awards buzz – especially in the acting categories – was Dallas Buyers Club which delivered a superb platform launch over the weekend as the final release for the current incarnation of Focus Features. The Matthew McConaughey film bowed to an estimated $264,000 from only nine locations in New York, Los Angeles, and Toronto for a strong $29,333 average. The R-rated true story expands on Friday to a dozen new markets – including Dallas – and will be everywhere by November 22. Reviews were sensational and McConaughey is seen as a major contender for the Academy Award for Best Actor.
A week ahead of its domestic launch, the super hero tentpole Thor: The Dark World opened across much of the planet this weekend taking in a sensational $109.4M from 36 markets led by $13.4M in the U.K. The second Thor flick lands in over 3,800 North American theaters this Friday (with first shows beginning at 8:00pm on Thursday night) and has scared away all other new wide releases. China also opens next weekend so the global tally will soar by the end of next weekend.
The top ten films grossed an estimated $118.3M which was even with last year when Wreck-it Ralph opened at number one with $49M; but up 18% from 2011 when Puss in Boots stayed in the top spot with $33.1M in its second weekend.
Richard Curtis, writer and director of Love Actually, brings us his latest heartwarming fare–and this time, it involves time travel. Grae Drake talks to Curtis, as well as stars Bill Nighy and Rachel McAdams, about their New Year’s Eve memories and their favorite romantic memories. Singer/songwriter Ben Folds also talks about his song “The Luckiest,” featured in the movie.
Adapting a beloved novel to the big screen is often a dicey proposition. That said, critics feel that Ender’s Game does a pretty good job of bringing its source material to cinematic life, with strong performances and a thoughtful tone that helps to make up for occasional stretches of solemnity and dullness. Earth is under siege from alien invaders, and the fate of humanity rests on the shoulders of Ender (Asa Butterfield), a bullied teenager whose precocious gifts are cultivated in order to devise a strategy to defeat the enemy. The pundits say Ender’s Game isn’t always emotionally rousing, but it’s still a smart, visually exciting sci-fi film that should (mostly) please fans of Orson Scott Card’s book. (Watch our video interviews with Ford, Butterfield, Viola Davis, and Hailee Steinfeld.)
The idea of an animated action comedy starring turkeys is pretty funny in theory. Unfortunately, critics say that in practice, Free Birds is thin stuff; with its slack pace and less-than-inspired story, this is one turkey toon that never takes flight. Pampered Reggie (voiced by Owen Wilson) and activist Jake (Woody Harrelson) team up to travel back in time to the first Thanksgiving in order to kill the annual tradition of eating turkeys before it starts. The pundits say little kids might enjoy Free Birds, but their parents are likely to find the animation underwhelming and the jokes a bit flat.
A lot of people go to Vegas in search of a wild, unpredictable good time. Unfortunately, critics say Last Vegas plays things way too safe; while the combined talents of Michael Douglas, Robert De Niro, Morgan Freeman, Kevin Kline, and Mary Steenburgen keep things amiably watchable, the film never ventures outside its comfort zone. Douglas plays a longtime bachelor who’s finally tying the knot, so he meets up with a group of longtime buddies in Sin City to celebrate; revelry and reflection ensue. The pundits say the cast of Last Vegas makes for good company, but there are few surprises to be found on this trip. (Check out this week’s Total Recall, in which we count down Kline’s best-reviewed movies).
Also opening this week in limited release:
These Birds Walk, a documentary about a home for Pakistani street children, is at 100 percent.