The film plays like a mixtape of various sensibilities, partly beholden to the self-contained form of the bildungsroman.
Women deserve a better vehicle for demonstrating the power of female solidarity than this empty money grab.
Cary Murnion and Jonathan Milott’s Bushwick is a genre film with a refreshing sense of political infrastructure.
Stronger than its predecessor, which didn’t quite go as far in terms of representing these women in a wider context.
The filmmakers play Catherine’s disgustingly narcissistic sense of entitlement as endemic to the supposedly girl-next-door charms befitting the film’s thoroughly normative gender politics.
David Guy Levy, unlike David Fincher, punishes his characters as well as his audience with a naughty kid’s glee
The first sign that something strange is going on in Pitch Perfect is when we learn that 27-year-old Anna Kendrick is playing an incoming college freshman.
Director Aimee Lagos seems to be at odds with her own film, like a well-meaning but controlling parent hell-bent on choosing a child’s college, major, and fraternity for them.
Despite its panoply of clichés, the film does work up some goodwill once you accept it on its almost defiantly generic, low-stakes terms.
At the core of 96 Minutes is Dre, the film’s only source of real, relatable emotion, thanks in large part to a compelling performance by Evan Ross.
Peter Tolan’s film is a clumsy mashup of Leaving Las Vegas and Hardcore.
The film is memorable only insofar as its colossal, rank ineptitude will linger in unlucky viewers’ minds for years to come.
Adam Shankman keeps everything rolling, which is really saying something in this age of ground-to-a-halt musical turkeys.
The film’s sheer technical ineptitude seems almost intentional, bordering on avant-garde expressiveness.