The series squanders its initial intrigue with its plodding pace, repetitive structure, and cardboard writing.
The film’s disparate genre elements have been cobbled together with little consideration or fuss.
Cleansed of all risk and personality, the film subsides, as though with a sigh, into the reheated sauce of mediocrity.
For a series meant to tackle thorny social issues and gender dynamics, Roar comes across as distressingly slight.
Star Wars: Visions refreshes the Star Wars universe with an eclectic range of styles and tones and a subversive streak.
This powder keg of a film gets an uneven A/V presentation but a confident and enlightening commentary track from Fennell.
The film’s empowerment fantasy of a woman who steamrolls male egos is as stylish and fun as its portrait of gender relations is dire.
The film translates the often difficult realities of a specific kind of marginalized love into a story with broad appeal.
Dave Franco has a mighty command of silence as a measurement of emotional aftershock.
Season three eschews the notion that there’s a single experience of the ’80s that should dominate above the others.
The deconstruction of corporatized play culture gets run through the sequelizer machine, with predictably acrid results.
The season season of GLOW is largely interested in the dichotomy between group and individual interests.
The cast informs their non sequiturs with such soulfulness, allowing the film to largely sustain its one-joke premise.
Gunpowder & Sky has released a safe-for-work green band trailer for the Jeff Baena film.
The film feels most real, even at its most absurd, when focused on the idea of closure as a kind of fantasy.
This is exactly the kind of movie at which David Wain took aim with his sublime rom-com parody They Came Together.
The dark truth at the center of the episode is that business is always personal.
For all its gestures toward taking a more thoughtful approach toward genre tropes, the film ultimately ends up conforming to them..
The filmmakers stand out of Will Ferrell and Kevin Hart’s way, but they refuse to modulate the story’s racial humor with any sense of subversion.
This manic, loving parody of toy bricks and the pop culture associated with them receives a fittingly overstuffed disc from Warner Home Video.