The only people who can possibly learn something from a movie like The Last Sin Eater are those who follow blindly.
The Messengers suffers from shamelessly thudding banality.
Epic Movie is something of a wake-up call to how low our collective standards have really become.
Room 314’s creative impulses are an empowering example of do-it-yourself filmmaking.
Mort Nathan’s Van Wilder 2: The Rise of Taj defines pedestrian filmmaking on every conceivable level
The film is a comedy of tremendous miscalculation that doesn’t even have the conviction of its own stupidity.
Linda Linda Linda’s moderate adherence to formula is its one truly limiting quality.
As much as it flaunts them, Santa Clause 3 doesn’t want to examine and play with our cultural customs
The World According to Sesame Street is arranged in a simple, edifying and direct manner.
Sweet Land is exquisitely in tune with the rhythms and connections of lives both present and past and, expectedly, those yet to come.
The Marine comes pretty close to achieving a histrionic level of giddy, Mystery Science Theater camp.
Makoto Sato’s exploratory film creates a profound sense of worldly displacement, true to the nomadic sensibilities of its titular subject.
The film is a standard product fresh off the assembly line, so polished and fine-tuned that the opening and closing credits are but a formality.
The Covenant falls into theaters like a fashion magazine adapted to the screen.
A Cantor’s Tale is entrancing when its gaze remains upon those in practice.
A quick perusal of the film’s IMDb message board yields a thread topic entitled “Dear God Why.” My thoughts exactly.