Johnson’s film is effectively a light-hearted version of David Fincher’s The Game.
The series offers a surprisingly novel take on its source material, even if the pieces don’t fit together as neatly as they should.
This is a statement film inextricably tied to discourse in and around fourth-wave feminism.
Laika’s wry, sentimental work of kiddie horror receives a dazzling new A/V transfer.
By paring their story down so much, the filmmakers only end up highlighting just how little it contains.
At its best, the film doesn’t just privilege altered states of consciousness, it is an altered state of consciousness.
The film is an aimless, albeit sometimes funny, chronicle of absurd behavior and government ineptitude.
A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller.
Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
Each of Table 19‘s faint glimmers of grace are overwhelmed by elements of general spatial and narrative incompetence.
It’s a flashy, pre-fab product, but the animators are given enough space to create moments of genuine artistry.
The Accountant unevenly juggles a “follow the money” procedural with a corporate espionage thriller.
The film’s ruefully honest tone is periodically drowned out by the blare of stagey coincidences.
Much like with Neighbors 2, Mike and Dave’s obvious ace in the hole is its commitment to gender parity.
The film wears its derivative junkiness on its sleeve with surprising lightness of authority.
Reminiscent of Woody Allen’s Manhattan Murder Mystery, it utilizes a pulp conceit as a shorthand for the regrets that bubble up in a marriage.
Stronger than its predecessor, which didn’t quite go as far in terms of representing these women in a wider context.
Richard LaGravenese’s film mostly skirts any connection to musical theater as though it were faintly embarrassed.
To be fair to Ryan Reynolds, there’s probably no surviving The Voices.
The Daniel Barnz film interestingly insists on the audience judging its main character, which places us in a potentially uneasy position.