The film is a work of communion, and not only between the present and the past.
This swordfighting epic is delivered with a blockbuster scope and sincerity free of Takeshi Miike’s trademark gonzo insanity.
The film never coheres into something more than a moderately engaging for-fans-only tour diary.
Fred Cavayé shoots his action with both vigorous propulsion and visual lucidity.
It may rankle diehards in its reconfiguration of the series’s convoluted lore into a more streamlined, mainstream-accessible good-vs.-evil formula.
This is the type of project in which movie stars indulge their oh-so-serious side via facile stripped-down character drama.
A physics-based puzzle game that prides mental acuity over murderous mayhem, Portal 2 is the phenomenal follow-up that Valve’s 2007 hit deserved.
Grave Encounters is akin to being trapped in a continual loop of horror-movie tropes.
David Lowery’s debut feature is long on silence and laden with a mood of oppressive dread.
The film works its tired conceit with maximum patience and minimal inventiveness.
The film is less interested in questions of photojournalistic ethics than the emotional and psychological suffering of its four white South Africans in apartheid-torn 1994.
As befitting a third sequel that plays by the “rules” of remakes, Scream 4 proves doubly redundant and uninspired.
The result of this uncritical portrait is confirmation that few things kill a buzz as severely as unwarranted self-pity.
As evinced by his debut feature, writer-director Max Winkler is clearly going through a Wes Anderson phase.
Wrecked is a hollow genre variation on 127 Hours.
This is the bleak, crazy, postmodern superhero saga that Kick-Ass aspired to be, which doesn’t prevent it from being sluggish, derivative, and beyond obvious.
Duncan Jones’s fascination with dueling identities continues with Source Code.
To endure the film is to experience the mind-numbing limits of a goofy one-note joke.
El Velador doesn’t pass judgment or manipulate emotionally, instead choosing simply to consider the arduousness of survival in a land wracked by slaughter.
The film uses copious dramatic recreation-and-cartoon-graphic gimmickry to mask his vacuously celebratory POV.