This tactless dud plays out like a more one-sided, special effects-laden rendition of The Break-Up.
Compared with his geekily gonzo Versus, Ryuhei Kitamura’s Azumi is surprisingly tame and lucid.
What’s disheartening about Monster House isn’t just that it turns out to be a spasmodic, cacophonous roller coaster ride.
The Puffy Chair never quite strikes a comfortable or graceful balance between silliness and solemnity.
There’s little respite from the bargain-bin cheesiness of The Groomsmen.
Where Little Man really soils itself is in its calculated attempt to achieve so-bad-it’s good status.
The only relief here is that Ed Burns doesn’t conclude the story with a group of sensitive men cathartically crying.
The film’s account of authorial deception certainly benefits from its parallels to the recent outing of JT Leroy as a fraud.
The most clever aspect of You, Me and Dupree is its rhyming title.
Laurent Firode’s romantic comedy only manages to progress from plot point A to B thanks to the witlessness of its unbelievably naïve protagonists.
Director Sturla Gunnarsson is only partially up to the challenge posed by his illustrious source material.
Even for a sequel, Pirates of the Caribbean: Dead Man’s Chest takes the practice of double-dipping to extreme depths.
Despite its classification as a rock ‘n’ roll mockumentary, Keith Fulton and Louis Pepe’s Brothers of the Head is of a markedly different stripe than Spinal Tap.
Christian Volckman’s Franco-noir Renaissance is, in purely technical terms, something of an evolutionary step up from Sin City.
Mini’s First Time trades in black humor so dim you’d need a flashlight to find it.
The film powerfully conveys the despicably fictitious ways in which scapegoats are manufactured.
The film exhibits no trace of the random, goofy humor found in Danny Leiner’s first two directorial efforts.
Vondie Curtis-Hall’s urban action-adventure is far too ridiculous to be taken seriously as either rousing melodrama or politically-minded rallying cry.
Even better than the film’s vigorousness or humorous anecdotes is its attitudinal shrewdness
Eleven years after Billy Madison, Click finds Adam Sandler still being tormented by freckled redheads named O’Doyle.