All that Thank You for Smoking really peddles is a smoggy cloud of “moral flexibility.”
It’s hard to fathom what drew Sidney Lumet to Find Me Guilty aside from the opportunity to once again immerse himself in courtroom wrangling.
Michel Gondry’s film is a casual mix of live hip-hop and man-on-the-street stand-up.
As a shameless stab at kid-friendly uplift, Eight Below, at least during its Animal Planet-ish segments, nonetheless has a benignly cheesy, big-emotive charm.
Zathura is a film most families should be able to get behind.
Army of Shadows extends Melville’s pessimism even further than is customary.
More awkward than the film’s plagiaristic qualities is its clumsy alternation between frank human drama and hand-drawn daydreams.
The audio is surprisingly lush, with Peter Falk’s farts resonating dynamically across the entire sound stage.
Strictly for fans of Sprint commercials.
It’s hard to imagine any amount of directorial dexterity or pertinent subtextual commentary salvaging Firewall.
Amid this shallow, vulgar morass of cultural stereotypes and racial epithets, Paul Walker reconfirms his status as filmdom’s preeminent hunky cipher.
To simply label Sorry, Haters misguided or preposterous is to undersell its out-of-its-gourd daffiness.
The film delivers nothing more than a familiar Sundance-style brand of stagy, small-scale drama.
For the most part, those young and old fans of the classic children’s books will find much to enjoy about this sprightly adaptation.
This feisty sex comedy of errors doesn’t break any ground, but it still has its charms.
Simon West’s remake elongates its source material’s memorable opening segment to the 83-minute breaking point.
By its very existence, the film proves false its contention that focused human thought can manifest both internal and external change.
For a hip-hop icon defined by his cartoonish gangsta-pimp persona, Snoop Dogg turns out to be the most genuine presence here.
Let’s just say that Something New’s title doesn’t extend to the film’s race-conscious rom-com formula.
Trudell belongs to a strain of documentary biopic wherein one-sided reverence is the principle impetus.