It’s a hollow tale of vengeance led by a protagonist whose mainly defined by his tendency toward martyrdom.
Life Itself revels in the shameless emotional manipulation stemming from the ham-fisted tendencies of its own maker.
Ari Gold’s The Song of Sway Lake plays like several disparate melodies overlapping one another.
A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller.
The Nun is the cinematic equivalent of a Conjuring-inspired maze at Halloween Horror Nights at Universal Studios.
The film aims only to shock, refusing to deliver anything in an intriguingly post-ironic way in the process.
Isabel Coixet’s intermittent visual flourishes do little to amplify the stakes of her low-key narrative.
Jesse Peretz’s film is loaded with inconsequential detours and questionable character psychology.
The filmmakers mine a good deal of satirical humor from their characters’ thirst for extravagance.
Dog Days remains committed to coloring within the lines of established tropes in the animal-centric family film.
The film suddenly and unfortunately morphs into a generic and manipulative missing-person thriller.
It takes aim at myriad targets and bluntly satirizing them in disparate styles that never mesh into a cohesive whole.
Daniel Zelik Berk’s film trots out murky plot twists that leave crucial details needlessly shrouded in mystery.
By the end of the film, it’s clear that the most merciful act for the series may be a stake through the heart.
Rob Reiner’s film rests on broad, sweeping proclamations about the importance of factual reporting.
The film flirts with miserablism, but it counterbalances the direness of Nisha’s situation with moments of levity.
The film’s time-travel device mostly just exists to complicate what is, at heart, a trite and sexist love story.
Though the film is ostensibly a political thriller, it more often plays like an adaptation of a trashy romance novel.
Part of the pleasure of Gary Ross’s film lies in watching it turn a typically male-dominated genre on its head.
It unpacks the seemingly simple yet surprisingly radical methodology employed by Fred Rogers throughout his career.