Polished and perceptive though it can often be, the series only really scratches the surface level of its own potential.
The series suggests that winning hearts and minds is a naïve pipe dream, a strategy more fit for TV than for electoral politics.
Its inconsistent, half-baked characterizations would be more forgivable were they at least in the service of some inspired comedy.
It perfectly communicates the surreal hell of what the original production of The Room must have been like.
The show’s big statement about The Way We Live Now feels a bit expected, more of a foregone conclusion than a hypothesis under consideration.
It dulls the satirical bite of its predecessor with stock characters and a standard episodic arc.
Mothers and sons deserve an amiable comedy they can share, but this one proves to be faulty long before the requisite freeway breakdown.
If nothing else, 10 Years is hip to the fleeting, fundamental joys of revisiting one’s youth.
We’ve gathered up 15 films with highly memorable phone calls, which run the gamut from disarming to terrifying.
The film is Jamie Travis’s female-centric take on friendship, business, and, to a lesser degree, romance.
Lee Toland Krieger’s Celeste and Jesse Forever is an honest and breezily melancholic film.
The unfunny flies fast and furious in Fox’s unremarkable Blu-ray presentation of David Gordon Green’s latest letdown.
When it comes to Julie Delpy, the key question remains the old Barbra Streisand one.
Sundance Film Festival 2012: Tim and Eric’s Billion Dollar Movie and Celeste and Jesse Forever
Illogical and proudly crude plot developments are par for the course in Billion Dollar Movie.
David Gordon Green’s latest could fool you into thinking it was written, shot, and edited in the same week, so lazy and unrefined are its narrative and construction.
The only pleasure one gets from What’s Your Number? comes from fantasizing about the film that exists in its shadows.
Colin Hanks is an oddly unappealing romantic hero, as he projects a disgruntled peevishness that can suggest malevolence.
Kevin Asch so thoroughly enmeshes one in his Hasidic Brooklyn milieu that his film initially counterbalances its plot’s banality by focusing on particulars.
Even apart from the film’s vaguely insane endorsement of love at all costs, there’s the fact that much of it is simply not very funny.
For as impressively accurate as this film is, it still comes off as a purely moneymaking venture.