Iraq ruled not only the news but movie screens as well in 2006.
This storybook fable never overplays its cutesiness, but it also fails to figure out what it wants to be.
Juan Carlos Rulfo’s In the Pit is a documentary defined by symbiosis.
Clint Eastwood’s charcoal-colored aesthetic casts a pall of doom over his story’s ill-fated protagonists.
Factually more accurate than Glory Road but just as determined to pull heartstrings with its real-life tale of athletic triumph over adversity.
The film is full of truisms and guided by a Forrest Gumpian philosophy that might best be summed up as “Life is like a knuckleball.”
Throughout, generalizations about monogamy and varying sexual orientations are bandied about, then meekly pooh-pooh’d.
Larry King says, “Finally, a movie worth seeing over and over again.” I say, “I barely could get through it once!”
Alpha Dog boasts a menacing drum n’ bass score and lots of meaningless split screen effects.
An Unreasonable Man offers a tribute to the career of Ralph Nader.
The Pursuit of Happyness expectedly suffers from Gabriele Muccino’s overstated handling of the material.
To list all the contrivances strewn throughout would require more words than are warranted by Nancy Meyers’s cinematic maple syrup.
There also isn’t a moment when The Good German’s artifice isn’t as depressingly hollow as a spent bullet casing.
Another abysmally photographed film by the Brozen Lizard crew that both plays better and looks better on the small screen.
Regardless of topicality, there’s no ignoring the staleness of Days of Glory’s pervasive clichés.
It radiates not the nostalgic sentimentality of Almost Famous but raw, pathetic, obsessive desperation.
Nothing says Christmas quite like incompetent slapstick, saccharine sermonizing, and cavernous cleavage.
The Ant Bully is most inoffensive but bland animation of the year.
Tony Scott doesn’t even wait for Déjà Vu to properly begin before employing the spastic visual stylings that are his calling card.
Sweet themes are shoddily executed in Opal Dream.