It inelegantly infuses a standard revenge western with the gravitas of a war veteran’s coming-home odyssey.
Cavemen is an apt title considering how the sensibility and maturity of the film’s characters don’t seem to have developed beyond primal, alpha-man impulses.
The film wears its convictions about deception, creativity, and the importance of being a really good daddy on its shopworn sleeves.
The film’s superheroes-among-us setup isn’t particularly fresh, and the characters’ powers aren’t always clearly defined.
Would anyone want to sit through a film in which hunting and gathering takes precedence over defending one’s honor?
10,000 B.C.’s stereotypically primitive characters have less personality than Stanley Kubrick’s primeval 2001 apes.
The sense of disquiet that The Quiet stirs feels unintentional, suggesting behind-the-scenes conflict.
Well, what did your parents tell you about talking to strangers?
Simon West’s remake elongates its source material’s memorable opening segment to the 83-minute breaking point.
Arie Posin’s feature debut vies, and fails, for the wide-open humanism of an Altmanesque tapestry.
The film highlights writer-director Rebecca Miller’s frustrating proclivity for overly dreamy, precious storytelling.