This Christmas eventually winds up feeling like a lot of past ones.
If Vince Vaughn isn’t being sarcastic and foul-mouthed, he’s probably not fulfilling his comedic potential.
Lions for Lambs is, to put it mildly, beyond stagey.
The film is as awkward and ineffective as George Costanza’s attempts to wear a toupee.
John Cusack deserves much better than this sentimental slop.
Fat Girls plays like a gayer, more kindhearted, and more aesthetically challenged version of Napoleon Dynamite.
It’s hardly surprising that the story is merely an excessively convoluted rehash of its predecessors.
Ratatouille is darling, even if I’m still of the opinion that a rat will eat your face if you let your guard down for a second.
Steve Carell’s pursed-lipped awkwardness and sweet buffoonery aren’t enough to salvage this incorrigibly hackneyed film.
The film’s atmosphere of simultaneous intimacy and disconnection is haunting.
Sadly, the horror genre gets no respect, and Hostel: Part II is not the type of film to change that.
The most valuable reason to reinvest in the film after Paramount’s bare-bones 1999 release is this disc’s impeccable widescreen transfer.
Not only is the film dumb as a rock, but it’s also far too convinced of its import to be any fun.
How to Cook Your Life may gently preach about organic cooking, but gentle preaching is still preaching.
Director David Slade never infuses his tale with any sense of real consequence.
Carmen Castillo’s documentary doesn’t exhibit a clue about how to assemble its material.
People aren’t who they seem in Gone Baby Gone, and that goes for its makers as well.
At a massive 253 minutes, Peter Bogdanovich’s documentary certainly doesn’t lack for detail.
Michael Sheen stumbles in trying to pull off this delicate feat in Music Within.
Though based on a true story, this severely corny tale is, in fact, largely fiction save for its basic narrative outline.