There’s a newfound depth to the way Diablo Cody conveys the myriad pressures that plague her protagonist.
One may wonder whether Per Fly would have been better served by making a documentary about the oil-for-food scandal.
Every event in Michel Bergmann’s film is presented with the cheeky abandon of a lighthearted comedy.
The gravity of Krystal’s situation is undermined at every turn by the filmmakers’ excessively broad, comedic strokes.
The film is a meticulous examination of how the dehumanization of Australia’s native population bred an environment of cyclical violence and mistrust.
Writer-director Susan Walter’s film is almost determined to disprove the causality of social phenomena.
Throughout, Midnight Sun’s tone vacillates jarringly between corny, broad humor and unrestrained treacle.
It resists exalting its main character merely for his resilience in the face of such a harsh, uncaring reality.
There’s no reprieve from the dour tone of Carlos and Jason Sanchez’s film.
The film, so devoted to the intricacies of the autistic experience, makes its comedy and pathos inextricable.
Gringo’s circuitous narrative never allows for a character or storyline to develop in a particularly efficient way.
Jared Leto is clearly intended to make this take on the yakuza underworld palatable for U.S. viewers.
Director Shawn Christensen’s film maddeningly over-complicates each of its numerous storylines.
The film’s flashbacks, which are either too clipped or excessively scored, effectively step on the actors’ toes.
Tim Hunter’s Looking Glass is a wishy-washy thriller overstuffed with fake-outs and pointless digressions.
Ben doesn’t deserve our sympathy, in part for how noxiously the film has imagined the female characters who surround him.
Danny Baron’s film awkwardly melds Bollywood romcom tropes with a half-hearted critique of the GMO industry.
Lin Oeding’s film thrives on both the beauty of its natural, snowbound surroundings and the brutal instincts of man.
The will-they-won’t-they of the film is a non-starter, and as such the film’s climax is stripped of suspense.
Den of Thieves displays a reverence for the taut and moody tension-building tactics of Michael Mann’s Heat.