Despite the fact that the president of the U.S. is depicted as a pasty white guy, the film is an unmistakably Obama-era military fantasy.
From the fidgety lead performances to the seemingly Ron Howard-inspired aesthetic, it’s rife with bad choices.
Shrink is ultimately an ain’t-Hollywood-grand film masquerading as a boy-L.A.-sucks film.
A dramatization of a German woman’s diary chronicling the closing days of WWII, A Woman in Berlin shares something in common with its main character: anonymity.
The appeal of Deadgirl depends exclusively on the intriguing image at its center: a nude, softly writhing girl on a slab.
Despite its Hitchcockian title and corresponding everyman-embroiled-in-foreign-intrigue premise, the film is a frustratingly suspense-free affair.
This third entry in the animated kiddie series appears to be more, um, fair and balanced.
The Hurt Locker is a work of exhaustive filmic intricacy that required Bigelow to contemplate even “the sound of heat and dust, and the sun.”
It suffers from sheer sloppiness of script that results in scenes of comedic frivolity coming off as screechingly forced.
It’s possible to imagine a sardonic filmmaker like Lars von Trier doing justice to the premise of Imagine That.
The film’s premise seems ripe for execution in the vein of Neil LaBute’s style of behind-closed-doors perversion.
Yolande Moreau’s performance also proves a perfect tonal match for Martin Provost’s subtle, meticulous, and frequently beautiful compositions.
The film is a giddy procession of intermittently successful jump scares and make-you-vomit sight gags.
Judgment Day finally happens in Terminator Salvation, and as Sarah Connor predicted, anybody not wearing two-million sunblock has a really bad day.
The film is all swagger and mouth, but with no real affinity for the grittiness of thug life.
Joe Wright is prone to frustrating tendencies that are ascendant in The Soloist.
When 17 Again isn’t pilfering from its betters, it’s engaging in the most Pavlovian button-pushing.
Lemon Tree rests on its aura of subliminal female solidarity.
How does Miley decide when and where to be Hannah in the first place?
The African veldt was never so picturesque nor its inhabitants so one-dimensional as in The No. 1 Ladies’ Detective Agency.