The series puts a spiritual spin on the police procedural but struggles to uncover anything profound.
De Niro plays Madoff with an editorializing charmless-ness that fails to dramatize why people would trust this man.
The film quickly settles into a depressingly one-note groove as a culture-clashing circus act.
Philip Roth’s original ending is cranked up to 11, flattening the more interesting contours of Al Pacino’s performance.
At once impassioned and wholly manipulative, The Bay is a ruminative worst-case scenario as genre piece.
HND@Grassroots: Season 2, Episode 4 (22), “A Whiff of Whiteness” with Steven Boone and Lauren Wissot
Our first episode sans both John and Vadim features House contributors Steven Boone and Lauren Wissot on the weighty subject of Ballast.
Generally, the film is a compelling portrait of Hollywood egoism, though it suffers from this very egoism itself.
The film is as awkward and ineffective as George Costanza’s attempts to wear a toupee.
There’s nothing about the film that’s quite as fantastic as its depiction of the moribund SNL as culturally and politically relevant.
Nicholas Jarecki’s The Outsider doesn’t have the edge of a race-conscious James Toback film.
This boxed set is haphazard, slapped together, meat and no potatoes. All of the above apply to the films as well.
A canary-yellow Lamborghini’s license plate reads “Caca King” in Envy, nicely summing up this dreadful money-versus-friendship comedy.
No time for a conclusion. Only four minutes to Wapner!
There’s a great Jonathan Demme movie waiting to bust out of Rain Man
Now that the film is back in the stores, perhaps it can be rediscovered.
One of the finest things one could say about Young Sherlock Holmes is that it endeavors to honor a legend.
Barry Levinson’s latest is shamelessly devoid of subtext.