The film is an unfunny, uninventive live-action variation on animated Disney animal adventures like Lady and the Tramp and The Aristocats.
If this is the future of American indie cinema, than perhaps consideration should be given to blowing the whole thing up.
Flash of Genius’s portrait of obsession run amok largely forgoes Zodiac-like density for Hollywood Uplift 101 simplicity.
It’s outdated, banal paranoia given a superficial, big-budget contempo polish.
There’s little room for genuine emotion in this turgid romantic fantasy adapted from a novel by slop-meister Nicholas Sparks.
Ari Folman intimately understands the way that the human psyche denies, mutates, and embellishes.
The Windmill Movie is a stirring autobiography-by-proxy culled from 200 hours of footage shot by Richard P. Rogers and his father.
Tony Manero is a magnificently deranged study of overboard pop-culture fandom and authoritarian rule’s destructive effect on its citizenry.
The real subject of Religulous isn’t modern faith but Bill Maher himself.
According to The Lucky Ones, what injured, battle-scarred Iraq war vets need upon returning to native soil is a wacky cross-country road trip full of crazy misadventures.
Fear(s) of the Dark trades in disturbing youthful memories and ghastly tactility.
Ricky Gervais’s cutting bon mots and regular bouts of indignant stammering keep the film more dry and sharp than broad and squishy.
Whether comparing it to the output of Pixar and DreamWorks or judging it on its own lesser terms, Igor feels chintzy and imitative.
The film is a somber politicized lament for hardscrabble lives struggling to exist on the economic precipice.
The scariest thing about it is that it intends for its stereotype-mining ooga-booga racial tensions to be both incisive and thrilling.
Robert De Niro and Al Pacino share countless scenes together but don’t develop anything more than a clichéd cop-duo rapport.
The Pang brothers steal liberally from John Woo without ever replicating his shootout-choreography inventiveness or proficiency.
Battle to Seattle is Stuart Townsend’s attempt to fashion a modern-day Medium Cool.
Far more than Peter, it’s his paterfamilias who deserved the brunt of Grodsy and Jacobs’s character-study concentration.
Yasujirô Ozu’s influence can be felt in the patient rhythms and thematic preoccupations of Chris Eska’s film.