It’s tough to root for the film’s lovers when neither of them experiences genuine hardship.
Outlaw King rattles along at a bracing pace, but the assured bloodshed of the climax casts a weary shadow over the film’s middle section.
The extras on this edition of Jurassic World: Fallen Kingdom feel almost as dully prescribed as the film itself.
What happens here isn’t dictated by the tried and true themes of classic westerns but by the films themselves.
The film’s labored juxtapositions create fission, the feel of a director scrambling to dictate the game.
Kelly Macdonald is a master of understated vulnerability, but she can’t steer the film out of the doldrums.
Kevin Macdonald’s documentary only gives fleeting celebration to the wildfire of Whitney Houston’s success.
Throughout the film, director J.A. Bayona draws on the childlike fear of things that go bump in the night.
You may want for something to hold on to, but actors Tye Sheridan and Alden Ehrenreich slip through the fingers.
Simon Baker’s film isn’t about surfing so much as it is about riding a wave that must eventually break and recede.
The film expects us to be compelled by an undercooked love story, and troubled by unexplained cosmic politics.
It deals with a very ordinary emergency with deftness of touch, and the power of a singular performance.
Harald Zwart’s 12th Man shifts from a gripping chase in its earliest moments to a long game of survival.
In delivering its moral pabulum, Yolanda Ramke and Ben Howling’s film forgets to frighten its audience.
It’s a neat trick, immuring audiences in the scowl of the skeptic, but after a while it becomes a cage.