Who cares about subpar computer-generated work when Guy Pearce is a one-man cartoon badass spectacle all to himself?
You can always go home again according to American Reunion.
The film doesn’t even express, as its title implies, “a fan’s hope,” since there’s nothing that needs to be hoped for.
Horror films set in confined locales require airtight logistical construction, and ATM comes up short on that front.
Scenes of a Crime is a true-crime documentary of invigorating analytical clarity and even-handedness.
Hockey is reduced to a sport in which team play and goals are mere diversions from main-event fist fights in Goon.
Lust, love, and need prove a tangled knot inside the heart of one young woman in Hemel.
Fear and Desire has a certain fierceness that’s hard to shake.
Now, Forager boasts an evocative sense of environment and the feel of working with one’s hands, but otherwise rummages around in search of substance and subtlety.
Where Do We Go Now? is an ungainly follow-up to director Nadine Labaki’s 2007 Caramel.
There’s no dramatic suspense to anything about this by-the-books romantic saga.
Extreme zooms and unnecessary canted camera angles are part of Seeking Justice’s overcooked vision.
The FP has a one-note joke of a conceit, and when that runs out, it has few actual jokes to fill the humorless void.
Now that Zooey Deschanel has taken a detour into TV land, is Audrey Tautou the most insufferable pixy presence in cinema today?
The Cabin in the Woods ultimately does exactly what it condemns, prizing schematic formula and ingenuity over real terror.
Playback is a voyeurism-tinged horror film of dismal direct-to-video quality.
The Lorax’s CG style is reminiscent of Horton Hears a Who!, but boasts greater vibrancy.
In the race to achieve unadulterated fourth-wall breakage, Tim and Eric’s Billion Dollar Movie is the new pack leader.
The film is a compelling, if often lightweight, portrait of a man driven by outsider fury.
The icy fatalism of film noir is turned to slush by Thin Ice.