It’s an empathetic portrait of a particular human circumstance, but without greater context, it ultimately feels like only half the story.
The film fails to even equal its forebear’s handful of flashy CG moments.
Produced by Moriah Films, the media subdivision of the Simon Wiesenthal Center, the film is predictably hagiographic in nature.
Relatability is certainly a key component of Knocked Up’s inherent appeal.
The film mixes screwy humor, cheesily earnest romance, and anti-hero worship by way of the shaggy-dog tale of its titular slacker-loser.
The film is a penetrating portrait of the craft of acting.
Zach Braff is just about the world’s most insufferable comedic actor, and The Ex does nothing to diminish that reputation.
Disappearances has all the elements of a lighthearted adventure, and in Kris Kristofferson, it has its ideal leading man.
This is a film that posits “I love you” as the quick-fix remedy for its characters’ myriad, deeply rooted grievances.
Carl Austin and Rahila Gupta’s script is too stilted and corny to be affecting, but it is, from time to time, unintentionally funny.
A strained farce in which lots of one-dimensional Brits converge at the memorial service for their family’s patriarch and proceed to act like buffoons.
The film trembles in the shadow of Letters from Iwo Jima but the quality of its image and sound elements is almost unrivaled.
The Fountain is an acquired taste I don’t really care to acquire. The soundtrack, though, is a different story.
The pitch meeting must have been frightening: Caché for fans of Chocolat.
Like everything else about Brooklyn Rules, Alec Baldwin’s alternately calm and brutal tough guy isn’t close to original.
From Patrick Wilson’s buttocks to the equally assy faces of the film’s gossipy stay-at-home moms.
David S. Goyer’s film subsumes genuine emotion beneath mountains of pretentious aesthetics.
Producer Bob Yari returns to the Crash well with Even Money and comes up with a turgid PSA about the dangers of gambling.
It commences with an homage to ’70s-era exploitation films, but its tale of cancerous modern technology is pure present-day.
Michael Bay tarnishes the memory of another horror classic with an unnecessary remake.