Even small acts of open silliness are portrayed as inherently helpful in creating a kind of unity and friendship among what are,
This is exactly the kind of movie at which David Wain took aim with his sublime rom-com parody They Came Together.
For all its gestures toward taking a more thoughtful approach toward genre tropes, the film ultimately ends up conforming to them..
Almost none of the film’s characters or scenarios escape feeling contrived under writer-director-star Clark Gregg’s bizarro tonal shifts and plot developments.
Praises the electric carelessness of teenage angst while depicting it as if it were ultimately no more exciting, though no less pleasant,
Bogged down by raunchy body humor, Identity Thief wastes the comedic talents of Melissa McCarthy and Jason Bateman.
Director Seth Gordon knows not just where to point the spotlight, but when to relinquish the reins.
It’s not entirely clear why this movie even exists, except maybe to resuscitate Jack Black’s career.
David Duchovny orchestrates Neil LaBute’s new play like a virtuoso.
The film seems geared to the same superficial, property-obsessed, upper-middle-class sensibility that New York magazine peddles on a weekly basis.
The film never musters the requisite momentum or intrigue to separate itself from the burgeoning Boston-crime-saga pack.
If you eliminate almost all of the sci-fi elements, you’re left with The X-Files: I Want to Believe.
John Cusack deserves much better than this sentimental slop.
Zach Braff is just about the world’s most insufferable comedic actor, and The Ex does nothing to diminish that reputation.
There’s enough working here to make watching a TV show about TV all the more enticing.
Studio 60 on the Sunset Strip veers from feeling like one of TV’s best shows to one of its most mediocre, often
In the tradition of South Park’s Al Gore, let us forever describe future films of this breed as “so Syriana.”
Syriana may seem like a treatise on the corruption within the global oil industry, but it’s actually an overstuffed memo.
In the audio department, the film curiously gets nothing more than a mono track.
The best Ashton Kutcher film since Dude, Where’s My Car?