The Last Stand

A border town sheriff pulls out the heavy artillery to prevent an escaped drug kingpin from blasting his way into Mexico in t… Read More


For one of the better box office weekends in January, three — (count ’em three!) — films will be released this Friday.

Arnold Schwarzenegger gets back in the leading man saddle with “The Last Stand.” The action flick from Kim Jee-Woon (“I Saw the Devil”) imagines Ah-nuld as a border patrol sheriff charged with making sure a drug lord doesn’t escape to Mexico.

If you’d like your action a little more hard-boiled, Mark Wahlberg’s turn in the noir-esque “Broken City” should be right up your alley. Here, Wahlberg plays a cop-turned-private-eye who is hired by New York’s mayor (Russel Crowe) and winds up smack dab in the middle of a life-or-death scandal.

But if it’s horror you’re hankering for this weekend, check out the Jessica Chastain-led “Mama.” The Golden Globe-winning actress stars in Guillermo del Toro’s supernatural thriller, which follows two young girls — believed to be dead — trying to acclimate back into a normal life. (Spoiler: It’s a rough transition.)

Before you make your selection at the cinema this weekend, take a look at our review roundup below!


  • Richard Corliss (TIME Magazine)

    When any film works, it’s a miracle; <a href=””>when it doesn’t, it’s this</a>.

  • Lou Lumenick (New York Post)

    There’s rarely a <a href=””>believable moment</a> …

  • Stephanie Merry (Washington Post)

    You may want to account for low expectations, but the crime drama “Broken City” turns out to be much better — and funnier and more suspenseful — <a href=”,1217527/critic-review.html”>than both trailer and release date portend</a>.

  • Leonard Maltin (indieWIRE)

    What can you say about a story that takes so long to unfold <a href=””>but doesn’t take the time to flesh out its characters</a>?

  • Mark Jenkins (NPR)

    As an opportunity for hard-boiled types to trade threats, blows and caustic banter, <a href=”″>this modern-day noir works reasonably well</a>.

  • Betsy Sharkey (Los Angeles Times)

    The metaphorical mother-child connection becomes a mystical horror show of significant power. Sadly <a href=”,0,6065018.story”>it comes too late</a> to save “Mama.”

  • Kyle Smith (New York Post)

    Chastain has an excellent time. And so did I, for most of the movie: It’s much more suspenseful than violent, <a href=””>being careful not to allow us to figure out Mama too quickly</a>.

  • Tom Long (Detroit News)

    There’s something eerily effective about juxtaposing childhood innocence with the violent, the supernatural, the deranged. Evil shines all the more brightly <a href=”“>when held up against the sweet promise of youth</a>.

  • Michael O’Sullivan (Washington Post)

    There’s something dead and rotting at the center of “Mama,” and it <a href=”,1236534/critic-review.html”>isn’t the ghost of the woman who lends the horror film its title</a>.

  • Staci Layne Wilson (Yahoo! Movies)

    I rather liked the first half – but, caution: cliches abound, <a href=”″>and don’t go in expecting much based on the much-bandied Guillermo del Toro name</a>.

  • Elizabeth Weitzman (New York Daily News)

    The script is a mess, built on lazy clichés, stilted jokes and easy payoffs. <a href=”″>What the movie does have, though, is enthusiasm</a>.

  • Richard Corliss (TIME Magazine)

    Slapdash in its character portraits, the movie is slambang in its action scenes; <a href=””>it springs to life whenever it promises death</a>.

  • Richard Roeper (Chicago Sun-Times)

    To call “The Last Stand” gratuitously violent is to pay the movie a compliment. <a href=””>It’s sort of the whole point</a>.

  • Sara Stewart (New York Post)

    [It] just seems to want to gin up a lot of high-fiving for a lot of shooting, <a href=””>and right now is the least palatable time I can think of for that</a>.

  • James Verniere (Boston Herald)

    Arguably, <a href=””>a future guilty pleasure</a>.

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