The film is more straight-faced than Alexandre Aja’s prior work, trading absurd kills for narrow escapes from gaping alligator jaws.
Emotional complication might have elevated Maze Runner: The Death Cure out of its programmatic torpor.
The film is an awkward mix of swashbuckling love story and polemic, painted in very broad strokes.
The film’s sense of nostalgia is ultimately a reflection of how little the film asks of its audience.
Every set piece brings to mind an Epcot Center attraction built from borrowed parts, and on a CW show’s budget.
The film devolves quickly into a pedestrian character study that basks in Gary Webb’s public shaming and victimization.
Gore Verbinski’s real purdy (and genuinely entertaining) big-budget western has been snuck out on video under cover of darkness.
The movie, of course, barrels toward climax upon climax, and while possibly better photographed, the crashes, bangs, and booms are no less numbing than anything else you’ve seen in this summer of garbage blockbusters.
So-so features can’t dampen an otherwise prodigious presentation of the Coens’ latest masterwork. Fill you hand, you son-of-a-bitch!
The Kennedys presents itself as a perfectly good soap opera, but a particularly sad example of how low political discourse has fallen.
After three consecutive films fixated on the absurd cruelty and randomness of life, Joel and Ethan Coen adopt a slightly more heartening perspective with True Grit.
Spielberg’s virtuosity is every bit as luridly kinetic as it was in the best sequences from The Lost World a year before.
In Marc Forby’s hands, Kaiulani’s story amounts to almost nothing, given how one-dimensionally she’s characterized.
The film trembles in the shadow of Letters from Iwo Jima but the quality of its image and sound elements, almost perfectly reproduced here on DVD, is almost unrivaled.
A point emerges, this notion that we’re all born good, but it’s not one that gets a concerned workout.