By never committing to neo-screwball antics nor a more serious analysis of codependency, the film ends up stranded in emotional ambiguity.
The Lost City is proof that star power and chemistry can only take a film with a mediocre script so far.
Dog smuggles a nuanced inquiry of a social issue under the guise of popular entertainment.
The deconstruction of corporatized play culture gets run through the sequelizer machine, with predictably acrid results.
Smallfoot is ballsy for pushing young viewers to question culturally coded notions of good and evil.
Soderbergh’s bracingly playful return to cinema is accorded a stunning transfer and little else, though the film itself is more than enough.
A parody of a parody, the film is so soulless that it makes its predecessor seem like a classic in retrospect.
Steven Soderbergh’s Logan Lucky is an ensemble comedy that’s simultaneously effervescent and cerebral.
Still one of the most fun sugar rushes of the year, the film arrives on home video with a shimmering, chromatic video transfer.
The film is an unbroken chain of one-liners, sight gags, and pop-culture references, and the hit-to-miss ratio is high.
The Coen brothers’ sardonic revisionism of Hollywood’s golden era is, ironically, their most earnest feature.
Joel and Ethan Coen’s idiosyncrasies elevate Hail, Caesar! above the level of a mere creative exercise.
With this immaculate Blu-ray transfer, you’re invited to indulge the film’s multitudinous pleasures without shame or judgment.
Magic Mike XXL plays like the party bus whose road was charitably paved.
Inventive in its visual effects, but it’s a cheap anti-authoritarian tantrum embedded in an intergalactic action-melodrama.
Jorge R. Gutierrez subsumes the film’s darker themes in a relentlessly busy farrago of predictable kids’-movie tropes and annoying attempts at hipness.
Of Bennett Miller’s many directorial feats, his canniest is his depiction of the precariousness of bonds, and how those bonds can shift, drastically yet almost imperceptibly.
Luckily for Tom Kitt, he was in his dorm room when opportunity knocked.
As funny and batshit insane as the movie often is, the fact that 22 Jump Street knows it’s a tiresome sequel doesn’t save it from being a tiresome sequel.
Enervated to the point of somnolence, Miller’s film squanders inherently intriguing material.