The best thing about this release is the seducation of Colin Farrell’s Irish accent on the commentary track.
Not your average Spike Lee joint, but still a sensitive evocation of one man’s moral crisis set amid a city’s even bigger one.
It seems odd that much of The Matrix Reloaded’s story is predicated on the issue of choice.
Just skip to track 9 and watch as Pierce Brosnon grabs on to the head of a nun and threatens to kill her. The rest is sleepy-time material.
There’s only one word it can spell without any trouble whatsoever: B-U-L-L-S-H-I-T.
Neil Jordan seems determined to keep the picture’s momentum as rigorous as possible.
Would people want to watch this story if it didn’t try to pull the rug out from under them every three minutes?
At age 72, Robert Duvall has pretty much earned the right to do whatever the hell he wants.
Levity might be touring the art-house circuit, but Jon Turteltaub would be well-advised to watch his back.
The film’s prevalent achievement is that it places Tommy Lee Jones in a familiar context but finds a different character for him to play.
The film is ultimately Bruce’s requisite foray into bland warfare propaganda, following in Mel’s blood-soaked shoes.
This is a film as remote and unyielding as an untouched textbook.
Try as it may to be the Serpico of its time, Dark Blue is caught up in the shadow of the equally bogus Training Day.
Christopher Walken seems more than willing to gluttonously walk away with the entire film by himself.
Laurel Canyon’s most infuriating quality is that it telegraphs where it’s going in about 10 minutes.
The elations and agonies of love between young people approach new heights of strident authenticity in David Gordon Green’s film.
Apparently making a spy thriller that amounts to something more than James Bond clichés taken seriously is indeed mission: impossible.
Chaos has been deftly edited to avoid any lingering traces of sentimentality or remorse.
John Malkovich ultimately pushes the film so far into an emotional void as to render it completely useless.
The entire film bears the hand of Donald Kaufman’s revisions found in the last 30 minutes of Adaptation.