The will-they-won’t-they of the film is a non-starter, and as such the film’s climax is stripped of suspense.
America is to this day hell-bent on holding Tracy Flick down. But she will have her revenge.
The characters’ motivations are dictated less by the dynamics of their personalities and more by the needs of the screenplay.
It takes the easiest approach to every scene, haphazardly juggling different tones without integrating them into a cohesive and consistent thematic identity.
American Reunion is admittedly a bit of a relief after the cynical and indifferently made American Pie 2.
Fox’s handsome, if close to barren, two-disc Blu-ray set is just what the vet ordered.
Due to its indiscreet mishandling of what’s real and what isn’t, Wilfred simply asks too much of its audience.
You can always go home again according to American Reunion.
Payne’s films don’t have the distinct visual styles of those by Quentin Tarantino or Wes Anderson, but they’re quickly recognizable just the same.
The film possesses a poorly explored but fecund meta-analysis of juvenile semi-stardom that demands a more sensitive treatment.
This laughable would-be diversion has only its digitally-based predecessors going for it.
The film proves that Hollywood doesn’t have a monopoly on ponderous, ersatz-thoughtful war dramas.
How does one satirize a show (or a president) that nobody takes seriously anyway?
Its main character may renounce California glitter for a down-home family life in Jersey, but Just Friends is as Hollywood as they come.
The film is—to quote the great Brittany Murphy—“music to cut your wrists” to.
Matthew Ryan Hoge’s film is Sundance twaddle of the highest degree.
For the half dozen people who actually liked Rollerball, this DVD edition is a keeper.
Randall Wallace does great things with Native American myth yet there’s no real flair to his visual palette.
John McTiernan lessens the stakes just as he expects his audience to take Rollerball as a global monster that turns sex and blood into rating’s fireworks.