Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
Beyond Belief is a poignant portrait of how these women cope with their roles as 9/11 widows.
The presence of an Alex Cox sidebar hints at the series’s anarchistic strivings.
One constantly feels the heavy hand of the director on top of the performers.
Philip Seymour Hoffman and Tom Wilkinson will probably have to settle for the knowledge that their performances would’ve been slam dunks at the Emmys.
Jumper would be lame simply on the basis of its under-written characters and slack attitude toward the hero’s adventures.
Step Up didn’t front, but Step Up 2 the Streets is a poseur.
Lionel Ritchie’s corny-as-shit “Hello,” consider yourself served.
The film abandons all clichés of the traditional bio-pic in favor of outlandish magical realism.
The film is proof that, when it comes to the modern romantic comedy, contrivances always trump credibility.
Expect voters to follow In Style’s lead and screw, yet again, Colleen Atwood’s exquisite contributions to Tim Burton’s latest gothic reverie.
The original title for this episode was “My Black Eye,” due to the massive shiner I gave myself after faceplanting onto my bookshelf.
Yes, A Walk to Beautiful is yet another Africa, Continent in Crisis movie. It is also a well-intentioned and beautifully shot film.
For the second year in a row, this category has given the majority of its nominations to a single movie only to give the award to a different one.
The archival footage used in Chicago 10 brings us back to a time when individuals weren’t afraid of speaking up for their ideals.
Even when Pixar isn’t nominated in this category, its presence is still felt.
Guido Thys and Anja Daelemans’s Tanghi Argentini aims for beguilement but only achieves insult.
Martin McDonagh is the Quentin Tarantino of the theater, which is descriptive shorthand for something quite extraordinary.
Has cinema recovered from The Jazz Singer?
There’s obviously a certain bloc of voters in the Academy’s visual effects branch who loved seeing CGI open up a world of animal-on-animal violence.
Even though it reaches for the mythical, the surprisingly drab-looking Bab’Aziz can’t help but feel earthbound.