The film’s milquetoast banality isn’t, ultimately, Steve Carell’s fault.
The film strains not for classical pop mythology but, instead, frivolous FX-laden adventure.
For those who’ve doubted Christina Ricci’s talents, the film allows the actress to hock a fierce loogie in our faces.
David Wain and Ken Marino’s The Ten is as tonally divergent as possible from Krzysztof Kieślowski’s The Dekalog.
The film piles on the comically excessive gore for its tale of a New Zealand farm overrun by genetically engineered killer sheep.
During its early going, Right at Your Door is a stomach punch of a post-9/11 thriller.
The film affects an air of credibility and stateliness via its meticulous production design and extravagant cinematography.
Would that Mark Wahlberg’s Bob Lee Swagger took aim at the critic on the back of the DVD cover who praises the way the actor “hits the target.”
Music is the conduit for repudiating stereotypes and fostering cultural unity in Gypsy Caravan.
1408’s mixture of supernatural hullabaloo and spiritual awakening is sturdily propped up by John Cusack.
Eli Roth’s film functions as a ritual akin to the ceremony performed on Heather Matarazzo’s character, but one with no purpose other than to court easy outrage.
As the husband of a high school social studies teacher, Chalk strikes me as the definition of a missed opportunity.
Mr. Brooks is one deliriously ridiculous movie, and a bona fide contender for status as a camp classic.
Interview is chiefly a showcase for actors Steve Buscemi and Sienna Miller.
The film, despite the its supposed “based on true events” credentials, comes off as merely so much preposterous, contrived nonsense.
Dylan McCormick’s indie jalopy leaves no hackneyed stone unturned.
Any film that slams Gandhi as something of a selfish, thoughtless prick deserves credit for audaciousness.
Fido never goes anywhere interesting or particularly funny with its sketch-comedy premise.
It’s apt that Disney’s Pirates of the Caribbean trilogy has experienced a trajectory not unlike that of a rollercoaster.
The film exhibits enough unfussy familiarity with its tattered blue-collar locale to overcome its more well-worn components.