Snyder’s space epic plays more to his strengths, but it can’t rise above his weaknesses.
Playing a bit like Hammer’s greatest hits, the film attempts to meld historical pageantry, occult shadings, and a liberal dose of third-act terror and gore.
The film’s anticlimactic big heist unspools with all the excitement of watching ice melt.
The worst thing that can be said about it is that it’s a good decade too late.
This is a film that manages to say less about chaos theory than Jurassic Park.
Against the Ropes seems derived less from real life than from the Moviemaking for Dummies handbook.
Joel attempts to fight the erasure in his own mind, and Eternal Sunshine admits early on that it’s a fight he cannot win.
The film is both a love-struck but tedious ode to cinephilia and a fascinating exploration of sex as a form of political resistance.
Disney was and is a studio with an impenetrably inflated sense of quality control.
There’s never a sense here that these characters are living out the movie Viviane can no longer make.
Hobbits, fish, horses, Asians, pirates and civil wars. This year, the Academy threatens to get all political and metaphorical on our asses.
Not surprisingly, Ace in the Hole was received poorly by the media at the time of its release.
Despite the closure evoked by the film’s title, Belvaux has suggested that his three films can be watched in any order.
Hiding and Seeking is a testament to reaching out for the better good.
Lucas Belvaux’s On the Run is the first installment in a trilogy of films I’ll hereby refer to as the director-actor’s Trois Genres.
Nothing that happens in one film illuminates what happens in the others.
Andrei Zvyagintsev’s macho endurance test is an abject lesson in abject parenting.
The film is a Christmas card to Tokyo’s homeless inspired by John Ford’s religious western 3 Godfathers.
When Spot’s desire is granted by an eeeeeevil scientist, the film suddenly morphs into a dissatisfying and uncomfortable concoction.
Torque is inoffensively diverting, neither a work of inspired genre genius or mere manipulative commercial trash.
Not since that famous tussle with Cameron Diaz’s dog in There’s Something About Mary has Ben Stiller connected so agreeably with a costar.