The film casts the life of John Dillinger as one defined by the symbiotic relationship between crime and celebrity.
When the only pull quote Disney could scrape up for the back of the box is “Fans will love it!,” it’s safe to assume you won’t.
Banal, belligerent, and brain-dead, it ultimately succeeds only at being far less than meets bare-minimum cinematic standards.
It functions as a message-movie slasher film or, rather, a hot-button Passion of the Christ, replete with the participation of that film’s Jesus himself, Jim Caviezel.
Naftaly Gliksberg forgoes providing highly personal context that might have made up for the haphazard nature of his inquiry.
This bibilical buddy comedy often makes you wish that 2001: A Space Odyssey’s dawn-of-man apes had never picked up that bone.
Sandra Bullock and Ryan Reynolds’s fruitful combative rapport can’t withstand the film’s adherence to formula.
Tacky but completely in-season, the film is the type of studio claptrap you get when the country’s economy is in complete meltdown.
Barmak Akram depicts his milieu and its inhabitants as struggling to face the obligations that arise from their complicated circumstances.
Are Tony Scott’s films actually directed by Google Earth?
Antarctica’s McMurdo station is given further big-screen exposure by BLAST!
Land of the Lost is halfway toward amusing, which means it’s just as close to awful.
Sam Mendes makes movies that feel like department store displays, which makes Away We Go something of a surprise.
Todd Phillips peddles gonzo male camaraderie fantasies in which lifelong friendships are forged or reinforced through trials by fire.
The film coasts along lackadaisically, its early modesty helping to partially offset the corniness of its race-against-cancer setup.
The focus of the bonus features is rightfully on Kate Winslet and Leonardo DiCaprio’s titanic, emotional performances.
Stephen McHattie has a voice like a baritone snake, equal parts silky and sinister, and it’s the main attraction of Pontypool.
What Goes Up’s point that Americans create icons to fulfill their own screwy needs is made through contrived and nonsensical plotting.
Director Shawn Levy remains unable to convey the type of grand, awe-inspiring scope and wonder that his material requires.
A geriatric summer adventure in which the appearance of action takes the place of the real thing.