After the dreary imitativeness of Undead, the Spierig brothers find themselves once again on derivative ground with Daybreakers.
Buy this DVD for your kid this Christmas….because Zach Galifianakis wasn’t in enough movies this year.
So long as it’s moseying along without a clear sense of direction, the film exudes a laidback, ’70s-cinema character-study coolness.
If you’ve got a Ruffie hangover, you can relive the The Hangover for the first time all over again. Just skip the bonus material.
Avatar is a steroidal hodgepodge of been-there, done-that melodrama and paper-thin present-day allusions.
Slammin’ Salmon finds Broken Lizard’s approach calcifying into convention.
Throughout, stock plot tropes and moral messages are proffered with easy-to-read blandness.
Jim Sheridan has a gift for capturing glimpses of unvarnished, authentic emotion, and his humanism runs so deep that it’s capable of elevating even standard-issue fare like Brothers.
Until the Light Takes Us is a fan-perspective depiction of the Nordic black metal scene.
Princess and the Frog only intermittently delivers on its promise of glitzy and glamorous Princess bliss.
Old Dogs is a series of sub-sitcom sequences designed to destroy any affection once felt for John Travolta and Robin Williams.
Staten Island has the stench of meat left on the counter for too long.
The wannabe-Strung aesthetics reveal the project’s underlying style-over-substance concerns.
The film’s shortcomings have less to do with John Woo’s direction and more to do with the Frankenstein hatchet job enacted against it.
Given its canny beauty and quick wit, Fantastic Mr. Fox seems primed to also burrow into issues of self, uniqueness, and community.
Deeply condescending but often hilarious, this absolute mess of a film showcases the best and worst tendencies of Sacha Baron Cohen’s character and talents.
Writer-director Richard Curtis is about as rock ‘n’ roll as the average great-grandmother.
The Box wrestles with issues of greed, altruism, and one’s vital place in the (local, global, universal) community.
Robert Zemeckis is as committed to motion-capture CG animation as Ebenezer Scrooge is to pinching pennies.
American Movie director Chris Smith affects an Errol Morris pose with Collapse.