No matter how hard he tries, Robert Rodriguez can’t make 3-D tolerable or cool.
Time and again, Ron Howard aggressively goes for the syrupy jugular rather than allowing his inherently poignant story to throw its own punches.
Chris Browne’s engaging documentary is a captivating portrait of America’s shifting entertainment preferences.
John Sturges transforms the expansive emptiness of his frame into an omnipresent character.
Title be damned, Sturges’s classic isn’t a bad way to spend a day.
Dominion: Prequel to the Exorcist turns out to be as dreadfully boring, ridiculous, and pompous as rumored.
The film’s schematic attempt to present two political extremes as equally repugnant and exclusionary is depressingly feeble.
Bomb the System captures the addictive, renegade spirit of urban graffiti writing even as it falters in its attempts to legitimize the illegal activity.
In his TV commercials, Buck declares “I’ve got balls,” but the same unfortunately can’t be said about the film.
The film is a powerful wake-up call about the global problem of child labor.
Don’t be surprised to spend the majority of the film checking your watch.
Crash explores, via interlocking stories, the cultural, racial, and spiritual isolation of Los Angelinos.
Double Dare sheds light on heretofore-unsung women toiling away in a male-dominated segment of the entertainment industry.
Kingdom of Heaven ultimately turns out to be a film about holiness beset by a pedestrian spirit.
A very good film reconstructed into a classic, Fuller’s WWII epic is not to be missed.
Don’t miss the unrated puppet sex scene. It’s the shit!
Hollywood’s hegemony now stretches to mainstream Russian cinema.
Despite its title, XXX: State of the Union is neither pornographic nor political.
It perceptively details the niceties and nastiness of friendship, romance, and sexual affairs.
It endures as one of the finest Flynn-de Havilland collaborations, providing a grand stage for the duo’s playful, poignant rapport.