It finally gets a home-video release worthy of purchase, sporting excellent video, flawless audio, and a bounty of well-sourced extras.
Clark Franklin’s One False Move brings a shotgun to a knife fight, and the results aren’t pretty.
The film is a hokily melodramatic rise-fall-redemption story with a mostly unearned patina of greater significance.
Dan Gilroy’s directorial debut only offers a familiar vision of today’s newsman and producers as misery peddlers, and callow ratings slaves bordering on the monstrous.
It’s an intelligent, self-reflexive summer blockbuster with an eye for castigating proliferate franchise mentalities.
Tom Cruise turns the series of false starts, dead ends, and hard lessons into a working metaphor for his own career.
It boils an entire culture down to repetitive pastiche on its way to that glittering homogeneous fantasyland of sports-movie magic.
Greedily tries to cram every dystopian curse into one misbegotten plot, resulting in something wildly disjointed, even if its pieces arguably connect.
Viewer/character solidarity only holds up for so long, and the film falls hard into twisty, nonsense territory, skipping over its stronger themes in the process.
Eventually we're sure to get a proper Blu-ray release of this film, probably around the release of Terminator V.
What I once hailed as the best movie in the history of the world (I was 13) is an uncomfortable thing that doesn’t rank with its creator’s best.
After watching the beginning of season four of Big Love, I think we can safely give up on ever having a premiere of this show that isn’t a busy and exhausting whirlwind.
The season finales of Big Love often have a bit of an out-of-control feel to them.
No matter how devoted you are to your creed (be it religious or otherwise), you’re always going to let it down.
“Rough Edges” just plunges forward, pell-mell, not terribly concerned with if it makes a lot of sense.