The film labors for a strong sense of place, but strange lapses confirm a sense that the city isn’t a character here.
Brian A. Miller’s Vice takes the basic premise from 1973’s Westworld and morphs it into an incoherent slog.
Let’s dispense with the central question posed by Friends with Benefits right away.
The Good Guy is mostly as generic as it sounds.
The most lamentable thing about the dismal Bride Wars is the total absence of fatalities.
The film operates under the wretchedly false assumption that it can cover up its derivativeness with flashy sound and fury.
The film seems to have been made so that writer-director Ben Younger can shoot all of his favorite sites in New York City.
It’s impossible to imagine anyone who scored at least a 500 on the verbal section of the SAT wanting to sit though this tripe.
This is an MTV film that extreme right-wing moralists can be proud of.