Jim Caviezel commits only to the level of God-like omniscience that Mel Gibson whipped into him a decade ago.
LP1 is 40 minutes of sex and touching, and it intertwines repulsion with attraction to the point that the two are indistinct.
As if taking a cue from its own title, the movie emphatically sets its sights on the upward trajectory of Brown’s career.
Diane Keaton’s jangled neurotic tics are simply sprinkled atop her on-screen persona like jimmies on a bowl of ice cream.
It’s not even made clear whether the machines can feel pain. But after sitting through Fire & Rescue, interminable even at a lean 83 minutes, I sincerely hope they do.
Is everyone ready for Mark Wahlberg to tap in with another test run of his wooden “surprise face”?
That this retrograde “straight talk” managed to emerge on screen as a reasonably genial ensemble comedy speaks to the strength of its performers.
All That Heaven Allows, Douglas Sirk’s definitive statement on human nature, now gets a definitive, sparkling Blu-ray release.
Dean DeBlois’s film has the core of a genuine crowd-pleaser, but unfortunately something bigger and more all-consuming keeps getting into its head.
Tom Cruise turns the series of false starts, dead ends, and hard lessons into a working metaphor for his own career.
The nation’s problems are right there in plain sight, just as clear as cinematographer Gregg Toland’s typically precise deep-focus shots.
The album is the most overt moment of Mariah having her Strawberry Cheesequake and eating it too.
It only bothers to lay out comedic set pieces that are simply family-friendly big-budget variations on Jackass stunts.
It’s magnificently sustained equivalent of Ravel’s “Bolero,” with nuclear warheads in place of timpani rolls.
With White Women, Chromeo is certainly in the right place in their careers at the right time.
The promo materials implore us to vote either #TeamFrat or #TeamFamily on Twitter, though we’re way more likely to be split between #TeamPecEfron and #TeamByrneBoobsplosion.
Only the very charitable would characterize this strain of providence as anything other than dumb, or at least incredibly forgetful.
If you programmed an algorithm to figure out how Lawnmower Man might be retold by Snake Plissken at the end of Escape from L.A., you’d still wind up with something more human.
If any movie in the Criterion Collection deserves to be released time and again, Antoine Doniel’s first adventure is as good a candidate as any.
I was telling Sven about the time Edna bought that Blu-ray there and then he told me they came out with another one with a better image, doncha know?