The Go-Getter is the cinematic navel lint from which She & Him crawled out to produce the almost cruel monotony of Volume One.
The film is less interested in contemplating the effects of man on nature (and vice versa) than paralleling modes of communication.
You don’t have to be a 24 or X-Files junkie to believe in conspiracy theories.
The story is quaint but its heart is sweet and mellow, just like Nina Simone would have liked it.
You know a film is going to be the pits when the director blows his artistic load on darkening the colors of the Disney logo.
Romero gives his original masterpiece a modern-day reboot and scores a comeback after the dismal Land of the Dead.
In the kennel of gay films, Shelter is a puppy dog: It’s cute but it lacks bite.
Paz Encina’s script is a beautifully written and considered immersion into the humdrum of campesino life.
Pointing out that her sister is one of her backup dancers, Badu was often prone to sitting back—legs crossed, head bopping—and allowing others to hog her spotlight.
Cameron Diaz and Ashton Kutcher bring a surprising sweetness to their generic roles and the story’s contrived situations.
David Duchovny’s sleepy-time conviction to Rick Greenwald’s script is the least of this documentary’s problems.
Explicit in Frontier(s) is its maker’s belief that nothing should be left to the imagination.
The French super agent more or less repeats all of 007’s bad habits, only with his tongue planted so firmly in cheek he looks as if he’s hurting himself.
It’s a bumpy film, and though no one may see it, it’s impossible to imagine it playing as gracefully without Famke Janssen’s conviction to her role.
How do I loathe the soul-crushingly predictable Made of Honor? Let me count the ways.
David Mackenzie uses Mister Foe as an occasion to infuse his smutty purview of modern romantic relations with twee affectation.
To quote Julia Roberts’s character in the film, Charlie Wilson’s War is liberal…but not where it counts.
If the film is anything, it’s a gorgeous eyesore, and the image on the disc does justice to Schnabel’s over-direction.
Tom Kalin’s first feature since 1992’s Swoon is a dull pastiche about the life and murder of socialite Barbara Daly Baekeland.
Julianne Moore does not settle for facile vamping, conveying a chilling combativeness and tragic sense of emotional resignation.