Jay Chandrasekhar’s film is at least a loyal dog.
Hell, I’ve seen better period detail on Oliver Beene.
Spanish auteur Álex de la Iglesia continues to show absolutely no signs of reconciling his dramatic and comedic impulses.
For anyone who’s glad they made the Children’s Day Society.
Chaos is a dim approximation of Last House on the Left.
Oyster Farmer becomes something of an afterthought, but it’s a lovely excursion while it lasts.
Hard Goodbyes goes from being appropriately child-like to simply childish.
The film exists to appeal to a demographic it perceives to be burnt out from fending off all that bad advice from Cosmopolitan.
Takitani’s life is not only mundane but seemingly forgettable.
Johnnie To’s film is a compelling amalgam of aesthetic showmanship and human movement.
Also add the film to that ever-growing list of films only Earl Dittman likes.
Andy Milonakis’s brand of humor is particularly daunting because so little of it has a context anyone living outside of his head can seriously relate to.
Downfall challenges us not to derive schadenfreude from watching the Germans in the film getting flushed down the toilet.
Someone put Balseros on George W. Bush’s Netflix.
Like Paul Haggis, Mark Bamford confuses audience pandering for hope.
Eternal and Eyes Wide Shut are not kindred spirits.
David Brower did more to save Mother Nature from Big Government than anyone before him.
It’s difficult not to look at the film as an attention-grabbing stunt.
Ice Princess once again proves that Disney probably loves your tween more than you do.
If you’re a keeper and not a renter, you’ll want to go for the two-disc DVD of the film.