The film’s relatively static approach to narrative works in scenes where the material is funny or elevated by a certain performance.
Nonsensical characterizations abound throughout The House without ever dipping into unbridled absurdity.
A regurgitation of Apatowian formula, wherein ostensibly edgy humor hides a core of conservative moralizing.
At once wonderfully complex and weirdly reductive—a formula, though, that seems as sound an embodiment of the human brain as any other.
It relies on a bevy of spectacularly funny clips and a plethora of talking heads, most falling back on plaudits rather than sage insights.
The female characters on Mad Men are probably the show’s strongest asset, but here they’re hollow to the point of insult.
It’s chaotic but ultimately focused, bound by an intense devotion to disassembling genre and narrative standards.
Absent of humor and thrills, it’s also accented with designs and color schemes that are equally notable for their lack of risk.
These Academy members possess an elementary school understanding of art, where films operate in a purely denotative register.
Parks And Recreation doesn’t deal in jokes so much as memorable slogans that perfectly encapsulate character.
This is “the Al Pacino Dunkin’ Donuts commercial in Jack and Jill” as an actual movie.
The story is so paper-thin one surmises it was scrawled on soggy toilet paper somewhere.