I really enjoy David Ayer’s work. His screenplays can occasionally bring about intense and powerful portrayals of cops and street criminals.

When he hits, he hits hard such as with his screenplay for Ron Shelton’s excellent crooked cop drama “Dark Blue” starring Kurt Russell, and his sensational police drama “End of Watch” with Jake Gyllenhaal and Michael Pena. I even found Ayer’s 2014

Actor Shia LaBeouf cannot handle Germany's climate--there's something in the air there and it's gone to his head. At the Berlinale, which ends tomorrow, he's shown up at his film's premiere wearing a paper bag (which reads "I'm not famous anymore") over his head (while wearing a tuxedo, no less) and stormed out of a press conference after dribbling some nonsense about sardines and trawling. And then there's that L.A. performance art project

Things begin in the sixties in Robert Redford’s "The Company You Keep." A group of radicals rob a bank in Michigan. The ringleader, shown in dusty old FBI wanted posters, looks remarkably like The Sundance Kid. Who are those guys? That’s the question the Feds are asking, and they have asked for more than thirty years. More accurately, where are those guys? The robbers long ago blended into America. When one surrenders

A funny thing happened on my way to pan Michael Bay’s midsummer mecha monster mash Transformers: Dark of the Moon. It turned out that I liked about half of it. Strangely that would not be the gargantuan 3-D final hour of demolished Chicago skyscrapers, impossible Special Forces stunts, flying glass, metal tentacles, and super-powerful interplanetary robots that could think of no better disguise than the cab of a truck. The evil Decepticons want to turn the human race into slaves, doomed to change out the 5W-30 every 3,000 miles for the rest of eternity. The Autobots with their Earthling allies fight to preserve the most essential human rights –like the right to have a girlfriend who’s 100 times out of your league.

  I won’t judge you solely on the fact that [...]