To say that OSS 117: Lost in Rio is a hideously distended continuation of OSS 117: Cairo, Nest of Spies’s one-note joke would be unduly kind.
The climax is a glorious train wreck of an ending for a film that’s as inauthentic as it is egregiously clichéd.
Lucas Belvaux’s taut political thriller Rapt is a top-heavy but exceptional action film.
Sex matters, but knowing just how much matters more.
Formula-based horror hasn’t looked this good doing nothing but the basics in a while.
The film is about as personal and memorable as a seasonal card your significant other snatches up from a Duane Reade at the last minute.
Nobody makes it out of the film looking good, but that’s clearly not the point.
One should consider the political factors that more than likely decided the film’s appointment to fleeting international prominence.
There’s a reason why superheroes were originally dismissed as naïve power fantasies for impotent men.
It’s plain to see why 20th Century Fox dumped the film in January.
A superb, complex drama and a stellar later performance from Nakadai make the film a rare treat for fans of period drama with a generic twist.
James Cameron’s Avatar is through and through his baby.
Armored displays Nimrod Antal’s characteristic emphasis on his characters rather than the situations into which they’re thrust.
Though both parts of Woo’s original film mostly serve to amplify his central pre-occupations, Red Cliff 2 goes a little farther in complicating them.
Parents: If I can (poorly) discipline a 16-year-old cat to not howl before sunrise, you can teach your kids to not emulate Bella Swan.
Cornillac’s a veritable cretaceous martyr, man. Why can’t I look away?
If the film starts off as a test of Halsey’s will to live, it certainly doesn’t end up that way.
As dated as it is, Michael Mann’s second theatrical release after Thief remains an intriguing mess of historical provocation.
Martyrs has an intelligence and a dogged determination to do and to say what its predecessors could or would not.
2012 could be about any disaster, rendering moot the half-baked proclamations of the Mayan calendar that are so central to the film.