The film’s occasional gestures toward pseudo-feminist empowerment only compound the hollowness of its protagonist.
A Simple Favor haphazardly vacillates between suburban satire, goofy comedy, and dark, twisted psychological thriller.
The longer things drag out, All I See Is You becomes every bit as amorphous as its protagonist’s vision.
It potently clarifies how our lives are spent distracted from matters of the closest personal significance.
What makes The Shallows churn so forcefully for so long is Jaume Collet-Serra’s visual acrobatics.
Less a sincerely kooky elegy to lost time than a slightly off-kilter acting out of familiar rom-com bona fides about missing out on life.
Stone returns to the grit, grime, and blood of his glory days with this breakneck SoCal-set thriller.
While his classic hyperbolic visual style is back in force, Oliver Stone can’t bother to muster any of his usual righteous anger.
It doesn’t take long to gather the influences trickling through Derick Martini’s Hick.
It’s not like critics weren’t given plenty of ammo.
Green Lantern is a mediocrity, neither folly nor kitsch.
As a chaser to Ben Affleck’s last offering of pungent Beantown brew, the film is a near-beer.
Its dopey, privileged-set fantasy winds up as obvious as crawling through Keanu Reeves’s open window.
For a project that aims to be so location specific, most of the segments seem largely isolated from their nominal settings.
The fantasyland-set script has a habit of wrapping up serious situations through flippantly easy shortcuts.
Unfortunately, Steve Pink’s directorial debut isn’t nearly as innovative or cool as Steve Jobs’s line of hi-tech doodads.
The film’s positive portrait of teenage femininity is honest and mature.
The film’s acknowledgement that growing up often requires coming to terms with loss results in a mature, untidy view of adolescence.