Godzilla and Kong’s team-up is an inevitability, but the film takes its sweet time getting there.
Robert Zemeckis’s live-action/cartoon feature is both enduring and endearing.
Comparisons between The Sixth Sense and minimalist fright flick The Eye will be inevitable.
The filmmakers lovingly evoke how memories can reunite us with those that we have lost.
It distressingly finds close-ups of the players’ legs, chests, and behinds indispensable to the story’s empowerment rallying cry.
John Cassavetes transforms Gena Rowlands into his own little Pam Grier.
The film’s prevalent achievement is that it places Tommy Lee Jones in a familiar context but finds a different character for him to play.
The rats are both frightening and strangely endearing, not unlike Crispin Glover’s performance.
Boat Trip is ultimately more offensive in theory than in execution.
The film is ultimately Bruce’s requisite foray into bland warfare propaganda, following in Mel’s blood-soaked shoes.
If only anvils had fallen instead of money, all of this might have been averted.
Here’s a film you’d expect a studio to roll out in the late 1800s.
For all its visual inventiveness, there’s something inert about the late Henson’s fantasy adventure.
The Feds have more evidence here than they have on Pee Wee Herman.
Cradle 2 the Grave is little more than a bad bar joke with no apparent punchline.
This is a film as remote and unyielding as an untouched textbook.
Thelma & Louise’s feminist call to arms winds up sounding woefully simple-minded.
Gaspar Noé positions Irréversible as a structuralist countdown, but a structuralist wank job is more like it.
Try as it may to be the Serpico of its time, Dark Blue is caught up in the shadow of the equally bogus Training Day.
Christopher Walken seems more than willing to gluttonously walk away with the entire film by himself.
Susanne Biers crafts her familiar story with equal doses of austerity and sympathy.